tag:blogger.com,1999:blog-75667222074931687712024-03-13T09:52:31.530-07:00Photo TechniquesPhotography for Newbies, Beginner, and Professional Photographer, all about Camera, Photo Techniques, tips and tricks for your best Photograph.HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comBlogger142125tag:blogger.com,1999:blog-7566722207493168771.post-8551596935414217322018-09-06T06:05:00.001-07:002018-09-06T06:05:17.929-07:00Canon EOS R mirrorless camera<p dir="ltr">https://www.adorama.com/alc/canon-eos-r-canon-debuts-new-full-frame-mirrorless-camera-system</p>
<div align="left"><p dir="ltr">The wait is over! Canon users have long been clamoring for a full-frame mirrorless camera from the brand, and today we finally get our first look at the <a href="https://www.adorama.com/car.html">EOS R</a>—Canon’s first full-frame mirrorless camera and lens system.<br>
</p>
</div><div align="left"><p dir="ltr">Canon has officially debuted their new <a href="https://www.adorama.com/car.html">EOS R</a> mirrorless camera, which boasts a 30.3MP full-frame sensor and the brand’s DIGIC 8 image processor. But more importantly, it features Canon’s new “game-changing” RF lens mount.<br>
</p>
</div><p dir="ltr"><br>
</p>
<div align="left"><p dir="ltr"><span style="font-size:1.40em;"><b>The EOS R Full-Frame Mirrorless Camera</b></span><br>
</p>
</div><p dir="ltr"><br>
<img src="https://www.adorama.com/alc/wp-content/uploads/2018/09/eos-r-rf24-105-3q-hiRes.jpg"><a href="https://www.adorama.com/alc/wp-content/uploads/2018/09/eos-r-rf24-105-3q-hiRes.jpg"></a>Canon EOS R<img src="https://www.adorama.com/alc/wp-content/uploads/2018/09/eos-r-back-hiRes.jpg"><a href="https://www.adorama.com/alc/wp-content/uploads/2018/09/eos-r-back-hiRes.jpg"></a>Canon EOS R<img src="https://www.adorama.com/alc/wp-content/uploads/2018/09/eos-r-cr-3q-hiRes.jpg"><a href="https://www.adorama.com/alc/wp-content/uploads/2018/09/eos-r-cr-3q-hiRes.jpg"></a>Canon EOS R<br>
</p>
<div align="left"><p dir="ltr">As Canon’s first full-frame offering in the mirrorless market, the <a href="https://www.adorama.com/car.html">EOS R</a> ($2299) packs many of the most desirable features and advanced technologies that users have come to expect from mirrorless cameras—plus so much more. Aside from stunning image quality, it offers 4K video shooting, unparalleled low-light performance, and a high-speed autofocus system.<br>
</p>
</div><div align="left"><p dir="ltr">Geared toward photographers and videographers who require a high-performance imaging tool, the EOS R features a 35mm full-frame CMOS sensor (with approximately 30.3 megapixels) and the powerful DIGIC 8 image processor to capture incredible imagery with the finest details. It’s designed to perform superbly even under the most difficult lighting conditions, thanks to its ISO range of 100–40000 (100–25600 for regular video and 100–12800 for 4K) and integrated Image Stabilization.<br>
</p>
</div><div align="left"><p dir="ltr">The Dual-Pixel CMOS AF ensures ultra-fast and accurate autofocus, with a focus area of 88 percent by 100 percent and a whopping 5,655 AF points that you can manually select. Users can enjoy a focusing speed of 0.05, impressive low-light AF performance, a range of selectable AF modes, and exciting focus selection capabilities such as Touch and Drag AF, which allows the user to drag their finger on the LCD screen to select a focus point without taking their eye off the EVF.<br>
</p>
</div><div align="left"><p dir="ltr">For manual focusing, the EOS R also features Focus Peaking and Dual Pixel Focus Guide.<br>
</p>
</div><div align="left"><p dir="ltr">Other features include the 0.5-inch 3.69 million-dot OLED electronic viewfinder, a large 3.15-inch fully articulated touchscreen, a new Multi-Function bar, and the new RF lens mount.<br>
</p>
</div><p dir="ltr"><br>
</p>
<div align="left"><p dir="ltr"><span style="font-size:1.40em;"><b>New RF Mount</b></span><br>
</p>
</div><p dir="ltr"><br>
</p>
<div align="left"><p dir="ltr">The main innovation that ties the EOS R system together is the new RF lens mount. While it retains the large 54mm diameter of the EF mount, it features a new design that allows for a much shorter distance between the rear lens element and the sensor. This helps ensure better optical performance due to the reduced refraction and light bending, resulting in high-resolution results with superb fidelity, sharpness, and clarity. Finally, the new mount has a 12-pin connection to enable high-speed communication between the camera and lens—a feature that contributes to the EOS R being a highly efficient and powerful imaging system.<br>
</p>
</div><div align="left"><p dir="ltr">Canon is also releasing mount adapters to allow the use of EF/EF-S lenses with the EOS R mirrorless camera.<br>
</p>
</div><p dir="ltr"><br>
</p>
<div align="left"><p dir="ltr"><span style="font-size:1.40em;"><b>EOS R RF Lenses</b></span><br>
</p>
</div><p dir="ltr"><br>
</p>
<div align="left"><p dir="ltr">The EOS R System launches with four new lense</p></div>
<div align="left"><p dir="ltr">All lenses allow for precise adjustment directly on the lens itself. This is thanks to innovative features such as the new dedicated control ring for quick exposure adjustments through the EVF, as well as dials for manual focus and zooming (in variable focal length lenses).<br>
</p>
</div><div align="left"><p dir="ltr">Canon is also launching three mount adapters for use with EF and EF-S lenses:<br>
</p>
</div>HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-49285325727974808742016-07-07T00:51:00.001-07:002016-07-07T00:51:08.172-07:00Photograph Anything You Want
<p dir="ltr">I wanted to write you this letter on how to liberate yourself in photography— by photographing what interests <i>you</i> rather than what you think other people will be interested. It means to make your photography more personal, and to make your photos a reflection of who you are as an individual. Remember; photos are always self-portraits of yourself, not of your subjects.</p>
<p dir="ltr">Often time, a lot of photographers ask me, “Eric— I don’t have any ideas for photo projects— how do I come up with good ideas?” I also get asked by photographers regarding advice for finding your own style in photography.</p>
<p dir="ltr">However at the end of the day, the simplest advice I would give is: “Photograph anything you want.”</p>
<p dir="ltr"><b>Don’t fear criticism</b></p>
<p dir="ltr">There is always a fear that our work won’t be appreciated by others. As human beings, we fear criticism more than we value praise. Personally I know that for every 99 comments I get that are positive, 1 negative comment can put me into a sad mood.</p>
<p dir="ltr">I used to spend a lot of time asking other photographers what they thought about my work. I would also ask other photographers their feedback on some of my project ideas (whether they were “interesting” or not).</p>
<p dir="ltr">However the problem was that I would abdicate my own personal vision in the hands of others.</p>
<p dir="ltr">Not only that, but a phrase I have picked up is, “all advice is autobiographical.” Therefore the advice you get from any other photographer is based on the life history of the other person— not of yourself.</p>
<p dir="ltr">Only you have the answers; nobody else.</p>
<p dir="ltr"><b>Follow your heart</b></p>
<p dir="ltr">Never take photos of what you think others would find “interesting.” Only take photos of what <i>you</i> find interesting.</p>
<p dir="ltr">Perhaps you might really be into taking photos of fire hydrants, buildings, or street signs. This might not be “interesting” to anybody else; but who cares? Isn’t the point of your photography to bring <i>you</i> personal satisfaction and happiness?</p>
<p dir="ltr">Let’s do an opposite thought experiment: imagine if you made a photo project or image that everyone else thought was incredible (but you didn’t). Let’s say you ended up winning tons of awards, got tons of money, and fame— but would you really be proud of your own photography?</p>
<p dir="ltr"><b>Take risks</b></p>
<p dir="ltr">To be original in your work is to take risks. And if you truly want to be original in your work; you cannot ask other people for their opinion.</p>
<p dir="ltr">Why? If your idea is truly original— nobody will think your idea is good. When the founders of AirBnb first pitched their ideas to investors (rent your bedroom to complete strangers) — the founders were seen as crazy. A few years later, and boom— AirBnb is a multi-billion dollar company. The same goes with ride-sharing apps (could you imagine stepping into a stranger’s car 10 years ago and asking them to take you somewhere—without being worried of being kidnapped or killed?)</p>
<p dir="ltr">In the history of photography; the truly great photographers are the ones who followed their own personal vision and only photographed what they were personally interested in.</p>
<p dir="ltr">Josef Koudelka is famous for never taking on commercial assignments, and only photographing what interested him. Bruce Davidson admitted that once he started to take on commercial work — he started to lose his passion and enthusiasm for photography (because he wasn’t making photos that were true to himself).</p>
<p dir="ltr">There is a quote, “All progress belongs to the unreasonable man.” Therefore know that in trying to push your own artistic vision forward; you need to be a bit unreasonable.</p>
<p dir="ltr">In my personal opinion, I think it is better for you to craft your own lifestyle, live life to your own standards, and let the world conform to you (rather than trying to conform to the world).</p>
<p dir="ltr">The world is full of generic people, with generic lifestyles, generic jobs, and make generic photos. You are unique as an individual— why stick to the safe path, and create generic work which isn’t personally fulfilling to you? I know it might be scary; but assert your own individuality and creativity. Do what feels right to <i>you</i>(regardless of what others may say).</p>
<p dir="ltr"><b>The only person to listen to</b></p>
<p dir="ltr">So going back to the beginning of this letter— how do you take photos that only interests you?</p>
<p dir="ltr">My suggestion: <b>listen to your heart</b>. Don’t feel “forced” to take photos you don’t want to. Only take photos when your heart feels compelled.</p>
<p dir="ltr">I used to believe that you had to take photos every single day— but that opinion of mine has changed. I feel it just depends on who you are as a person (some people thrive when they practice everyday; others thrive when they don’t practice something everyday).</p>
<p dir="ltr">I feel that the point of life, photography, and anything creative is to figure out who <i>you</i>are as an individual. “Know thyself” is the best advice I’ve gotten (that has lasted thousands of years). Nobody has the answers for you; but we do have a few guides (philosophers, master photographers, mentors) who can help point out a certain path to discover the truth for ourselves.</p>
<p dir="ltr"><b>Be happy</b></p>
<p dir="ltr">If you love to photograph flowers? Go ahead and photograph them and don’t worry if your photos are going to be “boring” or “cliche.” If you love to shoot street portraits (and other street photographers tell you that isn’t “real” street photography— just take the photos anyways). Don’t put labels on your photography, and you will be truly free to do whatever you want.</p>
<p dir="ltr">What I’ve also found is that by uploading fewer photos to social media— I feel more freedom. It helps me focus on making photos that bring <i>me</i> personal satisfaction — and not worrying too much about what brings others satisfaction.</p>
<p dir="ltr">And what I have also discovered is that the happier you make yourself with your own photos, the more original, idiosyncratic, and personally-meaningful your work will be. And the more you please yourself in your own photos, then the more you will please your audience.</p>
<p dir="ltr">So go forth, and photograph anything you want— and don’t let anybody hold you back (not even yourself).</p>
<p dir="ltr">Always,<br>
Eric</p>
<p dir="ltr"><i>July 5, 2016 @ 4:26pm — LAX Airport</i></p>
<p dir="ltr">Source: erickimphotography.com/blog/2016/07/06/photograph-anything-you-want</p>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-56049938304668294112016-06-20T07:36:00.002-07:002016-06-20T07:36:29.285-07:009 tips for better wildlife photography<strong>1. Learn to be a morning person! </strong><br />
Early
morning light, a half hour before the sun comes up, can make an ordinary
image, extraordinary. The end of the day can provide warm light as
well.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/morning%20light_1466116775447_3114586_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/morning%20light_1466116775447_3114586_ver1.0.jpg" width="540" />
Professional wildlife photographer Barbara Fleming travels the world
capturing animals in nature, but calls Colorado Springs home. <span class="credit">(Photo: Barbara Fleming Photography)</span><br />
<span class="credit"></span><br />
<a name='more'></a> <br />
</aside> </div>
<strong>2. Get some action!</strong><br />
Get
action and interaction between your subjects. They might be walking,
nuzzling, swimming—movement will help create a more dynamic photo.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/nuzzling%20pups_1466116775549_3114588_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/nuzzling%20pups_1466116775549_3114588_ver1.0.jpg" width="540" />
Professional wildlife photographer Barbara Fleming travels the world
capturing animals in nature, but calls Colorado Springs home. <span class="credit">(Photo: Barbara Fleming Photography)</span><br />
<span class="credit"> </span> <br />
</aside> </div>
<strong>3. Do your research.</strong><br />
Do
your research on where the wildlife might be. There’s a lot of moose on
the west side of Rocky Mountain National Park, and also near Walden,
CO. Look for them near water. If you’d like to photograph birds, Pawnee
National Grasslands are excellent.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/Barbara%20Moose_1466116779377_3114593_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/Barbara%20Moose_1466116779377_3114593_ver1.0.jpg" width="540" />
Professional wildlife photographer Barbara Fleming travels the world
capturing animals in nature, but calls Colorado Springs home. <span class="credit">(Photo: Barbara Fleming Photography)</span><br />
<span class="credit"> </span> <br />
</aside> </div>
<strong>4. Patience, patience, patience.</strong><br />
Be
willing to be outside for hours to learn the animal’s behaviors. “The
more you are comfortable with them, the more comfortable they’ll be with
you—and you’ll be able to get a natural-looking shot," Fleming said.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/bird%20and%20bull%20thing_1466116775480_3114587_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/bird%20and%20bull%20thing_1466116775480_3114587_ver1.0.jpg" width="540" />
Professional wildlife photographer Barbara Fleming travels the world
capturing animals in nature, but calls Colorado Springs home. <span class="credit">(Photo: Barbara Fleming Photography)</span><br />
<span class="credit"> </span> <br />
</aside> </div>
<strong>5. Get comfortable. </strong><br />
You have to be comfortable with the outdoors. Shooting from a car window will rarely yield the best shot.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/get%20comfy_1466116778794_3114589_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/get%20comfy_1466116778794_3114589_ver1.0.jpg" width="540" />
Professional wildlife photographer Barbara Fleming travels the world
capturing animals in nature, but calls Colorado Springs home. <span class="credit">(Photo: Barbara Fleming Photography)</span><br />
<span class="credit"> </span> <br />
</aside> </div>
<strong>6. But not too comfortable.</strong><br />
Don’t
get too close to the wildlife. There’s a circle of safety that each
subject has. “You don’t want to cross that barrier or the subject may
charge you, or may just take off," Fleming said.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/staying%20away%20from%20animals_1466117166479_3116438_ver1.0.JPG" itemprop="url" src="http://content.9news.com/photo/2016/06/16/staying%20away%20from%20animals_1466117166479_3116438_ver1.0.JPG" width="540" /> Staying at a safe distance is crucial for both the photgrapher and animal's safety while taking photographs. <span class="credit">(Photo: Herbst, Anne)</span><br />
<span class="credit"> </span> <br />
</aside> </div>
<strong>7. Make eye contact.</strong><br />
Get eye contact and light in the eye of your subject.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/Margay%202013%20Adjusted-M_1466117025833_3116417_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/Margay%202013%20Adjusted-M_1466117025833_3116417_ver1.0.jpg" width="540" /> Barbara Fleming captures wildlife in still photos, traveling around the world. <span class="credit">(Photo: Barbara Fleming Photography)</span><br />
<span class="credit"> </span> <br />
</aside> </div>
<strong>8. Stay low!</strong><br />
Stay
low when you’re taking photographs—try and be at eye level. Looking
down makes it appear that you are dominant over your subject.<br />
<div class="story-asset image-asset">
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/stay%20low_1466116775452_3114585_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/stay%20low_1466116775452_3114585_ver1.0.jpg" width="540" />
Professional wildlife photographer Barbara Fleming travels the world
capturing animals in nature, but calls Colorado Springs home. <span class="credit">(Photo: Barbara Fleming Photography)</span><br />
<span class="credit"> </span> <br />
</aside> </div>
<strong>9. Shoot year-round.</strong><br />
Certain
times of the year give you opportunities to shoot different behaviors.
In the spring and early summer, mothers will be out with their babies.
In the fall, animals will display mating behaviors.<br />
<aside class="single-photo" itemprop="associatedMedia" itemscope="" itemtype="http://schema.org/ImageObject"> <img alt="draft" data-mycapture-src="http://content.9news.com/photo/2016/06/16/SHOOT%20YEAR%20ROUND_1466116779044_3114590_ver1.0.jpg" itemprop="url" src="http://content.9news.com/photo/2016/06/16/SHOOT%20YEAR%20ROUND_1466116779044_3114590_ver1.0.jpg" width="540" />
Professional wildlife photographer Barbara Fleming travels the world
capturing animals in nature, but calls Colorado Springs home. <span class="credit">(Photo: Barbara Fleming Photography).</span><br />
<br />
<span class="credit">Sources:</span><br />
<span class="credit"><a href="http://www.9news.com/features/9-tips-for-better-wildlife-photography/246282876">http://www.9news.com/features/9-tips-for-better-wildlife-photography/246282876</a> </span> <br />
</aside>HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-5645273247427780112016-02-11T18:34:00.001-08:002016-02-18T15:01:49.088-08:0014 tips fotografi portrait yang tidak ingin anda lupakan<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hI9E0x29BnkUwFE_DW9KtQPBup4oIlksMawM79JCRJFAuWCRoblzfzS6692VkftIgtMFK1D4cktAsMzmRDQ7kPdEHrDDmfm7MwgP7o9jOcK-Td_NgMv1Fo6mLg_DDmpbTmLgFardvq4r/s1600/girl-775060_1280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6hI9E0x29BnkUwFE_DW9KtQPBup4oIlksMawM79JCRJFAuWCRoblzfzS6692VkftIgtMFK1D4cktAsMzmRDQ7kPdEHrDDmfm7MwgP7o9jOcK-Td_NgMv1Fo6mLg_DDmpbTmLgFardvq4r/s400/girl-775060_1280.jpg" /></a></div>
<div class="MsoNormal">
Tips membuat potret fotografi dari tombol sederhana pada pengaturan kamera Anda untuk mendapatkan foto anak-anak terliat diam.</div>
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<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Meskipun banyak fotografer upgrade ke DSLR yang layak untuk
memberi mereka lebih banyak kendali ketika mereka mengambil potret keluarga
atau foto teman-teman, mendapatkan gambar besar dari orang-orang selalu
tantangan.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Perbedaan antara potret amatir dan profesional sangat luas.
Jadi kami telah menyusun daftar ini dari 14 yang tips fotografi
potret bagi setiap fotografer.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kami akan mulai dengan dasar-dasar pada aperture, shutter
speed dan pilihan lensa, kemudian beralih ke fokus dan teknik komposisi foto,
sebelum menunjukkan kepada Anda bagaimana menggunakan cahaya alami dan
reflektor untuk secara dramatis meningkatkan hasil Anda.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kami kemudian akan membahas beberapa tips fotografi potret
yang lebih maju, seperti manfaat menggunakan flashguns dan aksesoris lainnya
saat pengambilan gambar potret.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<a name='more'></a><br /></div>
<div class="MsoNormal">
Apakah Anda mengambil potret teman Anda atau Anda telah
ditugaskan untuk memotret keluarga, dan apakah Anda memfoto di sebuah studio
murni atau di luar seperti taman, di bawah ini akan
membantu Anda menjadi seorang fotografer potret yang lebih baik.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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<b>01 Ketika menggunakan Kompensasi Eksposur</b><o:p></o:p></div>
<div class="MsoNormal">
Masalah fotografi pada umumnya saat pengambilan foto potret dengan model yang warna kulitnya cerah namun dalam kondisi kurang terang cahayanya. Anda akan melihat ini pada saat
pengambilan foto wajah atau ketika ada banyak warna putih di resepsi pernikahan misalnya.</div>
<div class="MsoNormal">
Untuk mencerahkan subjek foto tersebut ketika menggunakan modus
Aperture Priority, Anda dapat mencoba menggunakan Kompensasi Eksposur.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Cobalah tambah 1 stop Kompensasi Eksposur untuk membuat cerah wajah model tersebut. </div>
<div class="MsoNormal">
<b><br /></b>
<b>02 saran Aperture</b><o:p></o:p></div>
<div class="MsoNormal">
Saat memotret potret, yang terbaik untuk mengatur aperture
lebar (sekitar f / 2.8-f / 5.6) untuk menangkap DoF (Depth of Field) sehingga latar belakang di belakang subjek Anda terlihat blur, membuat subjek menjadi fokus utamanya.<o:p></o:p></div>
<div class="MsoNormal">
Foto di Aperture mode Prioritas untuk mengontrol DoF; dalam mode ini SLR Anda membantu akan mengatur kecepatan rana untuk
eksposur yang tepat.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Lensa portrait spesialis cenderung memiliki lubang maksimum
yang lebih luas (dari f /1.4 ke f / 2.8) untuk membuat blur pada latar belakang.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>03 pengaturan kecepatan rana</b><o:p></o:p></div>
<div class="MsoNormal">
Ketika pengaturan shutter speed, faktor pada lensa anda jika saat kamera sedikit goyang (dan hasil kabur) akan menjadi masalah. Umumnya pastikan kecepatan rana Anda lebih
tinggi dari panjang fokus. Misalnya, di 200mm menggunakan
kecepatan rana 1/250 detik atau lebih cepat.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Anda dapat menggunakan kecepatan rana
lebih lambat ketika menggunakan lensa wide-angle seperti 1/20 detik dengan
18mm focal length.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>04 Meningkatkan ISO <o:p></o:p></b></div>
<div class="MsoNormal">
Saat subjek bergerak saat difoto, belum lagi
berkedip dan terus-menerus mengubah ekspresi wajah mereka dan membuat foto jadi lebih buruk karena tidak mendapatkan fokus dari subjek tersebut.</div>
<div class="MsoNormal">
Untuk menghindari masalah ini, dan untuk mencegah blur
muncul, Anda harus menggunakan rana yang cepat.<o:p></o:p></div>
<div class="MsoNormal">
Ini juga akan membantu untuk memastikan ketajaman saat mengambil foto dan
menghindari hasil foto yang blur akibat kamera sedikit goyang.</div>
<div class="MsoNormal">
Sementara dalam mode Aperture Priority dan mempertahankan
aperture lebar, meningkatkan kecepatan rana Anda cukup meningkatkan ISO Anda
(misalnya dari ISO100 diubah ke ISO400,) Dalam cahaya rendah (di dalam ruangan dan di luar), Anda
mungkin perlu untuk meningkatkan ke ISO800, 1600 atau bahkan 3200.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Pilihlah lensa memiliki dampak besar pada foto potret
Anda. Sebuah sudut lebar (sekitar 18mm) lensa dapat menangkap sudut pandang yang
lebih luas, sehingga lebih banyak background yang tertangkap kamera.<br />
Sebuah telephoto (lebih 70mm) lensa dapat menangkap sudut pandang
sempit, dan kurang dari subjek akan muncul seperti membingkai.
Panjang fokus juga mempengaruhi (DoF).</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lensa wide-angle akan menangkap lebih banyak DoF dibandingkan dengan lensa tele. Inilah sebabnya mengapa lensa tele yang disukai
lebih dari lensa wide-angle untuk potret, karena hasil foto lebih fokus untuk membuat subjek dominan karena bagian belakangnya blur.<br />
<b><br /></b>
<b>06 komposisi Kreatif</b></div>
<div class="MsoNormal">
Jangan malas dengan komposisi Anda. Terlalu sering
fotografer berdiri kembali, berpikir yang terbaik untuk mencakup semua, atau
setidaknya bagian atas, subjek mereka.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Memperbesar bukannya untuk mengisi frame untuk komposisi
foto lebih terinspirasi. Posisi subjek Anda ke satu sisi dari frame, dengan
'ruang untuk melihat ke dalam', adalah teknik yang hebat untuk menguasai,
seperti yang bereksperimen dengan lensa untuk menangkap DoF.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Tapi ingat untuk memastikan Anda fokus adalah setepat
mungkin - dengan contoh kita, mengambil gambar dengan f / 2.8, kami fokus pada mata kiri model,
yang telah dibuang mata kanannya baik keluar dari fokus.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>07 Gunakan reflektor</b></div>
<div class="MsoNormal">
<b><o:p></o:p></b></div>
<div class="MsoNormal">
Cara cepat dan terjangkau untuk mencerahkan potret Anda dan
memberi mereka terlihat profesional adalah dengan menggunakan reflektor.
Menggunakannya di dalam ruangan (dekat jendela) atau di luar untuk bangkit
cahaya kembali ke subjek Anda untuk mengisi bayangan yang tidak diinginkan.<o:p></o:p></div>
<div class="MsoNormal">
Sebuah reflektor putih menghasilkan hasil netral</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Banyak reflektor datang dua sisi atau dengan dilepas
selimut, sehingga Anda mendapatkan pilihan warna putih, silver dan emas
permukaan reflektif. Permukaan putih reflektor juga dapat ganda sebagai
diffusers untuk melembutkan sinar matahari langsung yang kuat.<o:p></o:p></div>
<div class="MsoNormal">
Sebuah reflektor emas menghangat potret Anda</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Sebuah reflektor perak mencerahkan gambar Anda</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Jika Anda benar-benar kekurangan uang tunai, Anda dapat
membuat reflektor dengan hanya menggunakan selembar besar karton putih - yang
Anda juga dapat menutupi dengan kertas timah untuk efek perak - dan masih harus
bekerja memperlakukan!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>08 Fokus kamera Anda<o:p></o:p></b></div>
<div class="MsoNormal">
Bila menggunakan aperture f / 2.8 atau lebih
cepat), DoF menurun secara drastis, foto anda akan kehilangan fokus. Misalnya pada bagian wajah; hidung orang mungkin tampak tajam tapi mata lembut.<o:p></o:p></div>
<div class="MsoNormal">
Dengan Foto tersusun, fokus pada mata; dengan komposisi
yang lebih luas, fokus pada kepala. Untuk membantu dengan pinpoint fokus,
manual pilih autofocus tunggal (AF) titik.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Sebuah teknik yang baik adalah untuk mengatur titik AF
tengah, tekan setengah tombol shutter untuk fokus pada mata / kepala, kemudian
Ubah komposisi untuk posisi subjek Anda ke satu sisi sebelum sepenuhnya menekan
tombol - ini sering merupakan cara yang jauh lebih cepat dari pemotretan dari
mengotak-atik poin AF.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Atau, mengatur titik AF di pojok atas dan menempatkan mereka
di atas mata subjek Anda untuk mengambil gambar Anda. Entah pilihan akan
membantu Anda posisi subjek Anda off-pusat komposisi lebih seimbang.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
<b>09 Berpose </b><br />
Bagaimana subjek tersebut berdiri, pose dan terlihat akan
memiliki efek dramatis pada hasil foto Anda. Perubahan kecil dalam ekspresi wajah seperti apakah mereka tersenyum atau tidak secara radikal dapat mengubah
rasa pada foto tersebut.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Saat memotret, mencoba dan mengambil berbagai ekspresi
sehingga Anda dapat memilih yang Anda sukai lalu diolah lagi menggunakan aplikasi di komputer.<br />
Juga pertimbangkan saat memotret di mana subjek
Anda terlihat kamera, atas atau bawah, atau ke satu sisi. </div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
<b>10 Artistik dengan flash pencahayaan<o:p></o:p></b></div>
<div class="MsoNormal">
Dilengkapi dengan flashgun, pemicu jarak jauh dan diffuser
ukuran baik, Anda membuka kemungkinan array yang luas dari pencahayaan yang
cerdas dan sejuk set-up.<o:p></o:p></div>
<div class="MsoNormal">
Cahaya mata subjek dari samping untuk menambahkan efek drama untuk foto Anda, dan mendapatkan kreatif dengan bawah-mengekspos langit
atau latar belakang, panggilan di berhenti -2 Kompensasi Eksposur untuk
menangkap latar belakang murung belakang subjek Anda.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
<b>11 pemicu kilat kabel dan nirkabel<o:p></o:p></b></div>
<div class="MsoNormal">
Meskipun pop-up flash kamera digital Anda dapat berguna dan
membantu, ada banyak alasan untuk berinvestasi dalam flashgun hotshoe.<o:p></o:p></div>
<div class="MsoNormal">
Salah satu tips fotografi potret favorit kami adalah
menggunakan off-camera flash. Flash off-camera jauh lebih kuat, yang berarti
ledakan terang cahaya, yang memungkinkan Anda untuk mengatur lubang kecil untuk
menangkap lebih kedalaman lapangan, atau untuk menerangi sekelompok orang.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Anda juga memiliki kontrol lebih atas pengaturannya, dan
Anda dapat sudut atas atau samping untuk bangkit cahaya off langit-langit dan
dinding.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
<b>12 Tripod Back Light</b><br />
Mempertimbangkan untuk menggunakan tripod flashgun,
seperti 5001B ditambah Manfrotto 026 Lite Tite.</div>
<div class="MsoNormal">
Tripod tidak hanya bertindak sebagai pengganti kedua
tangan, juga memungkinkan Anda untuk memposisikan flash tinggi atau rendah, menunjuk tepat di mana Anda ingin pancarkan cahaya tersebut.<br />
<br />
<b>13 Flash di siang hari</b><br />
Meskipun mungkin tampak aneh untuk menggunakan Flash ketika ada sinar matahari, itulah tepatnya waktu Anda harus menggunakannya!</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
Tanpa mengisi Flash<br />
Matahari dapat menyebabkan segala macam masalah bagi
fotografer potret: bayangan yang keras di wajah, eksposur tidak seimbang dan cahaya hanya menyorot satu sisi.<br />
Menggunakan sedikit 'cahaya flash' dan Anda akan segera
meningkatkan hasil potret Anda; kamera Anda akan menangkap eksposur yang lebih
seimbang, karena flash akan menyorot subjek Anda saat kamera juga menangkap latar belakangnya.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
<b>14 Manfaat off-flash kamera<o:p></o:p></b></div>
<div class="MsoNormal">
Sebuah flashgun dilepas dan bisa dipasang melalui kabel, atau
nirkabel menggunakan remote control yang melekat pada hotshoe Anda (beberapa
SLR terbaru bahkan menggunakan flashguns jarak jauh, tanpa perlu untuk menggunakan tambahan).<o:p></o:p></div>
<div class="MsoNormal">
Menambah diffusers dan softboxes yang lebih besar, lebih
lembut dan cahaya dapat tersebar dengan baik.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.digitalcameraworld.com/2016/01/19/14-portrait-photography-tips-techniques/">http://www.digitalcameraworld.com/2016/01/19/14-portrait-photography-tips-techniques/</a><o:p></o:p></div>
<div>
<br /></div>
Anonymoushttp://www.blogger.com/profile/03241096983878113538noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-12932698704267310712016-01-31T18:19:00.002-08:002016-02-01T19:14:47.371-08:008 Tips untuk fotografer dengan menggunakan kamera apapun<div class="MsoNormal">
8 tips
tentang cara untuk mengambil dan membuat gambar yang lebih baik. Untuk
membuktikan bahwa ini tidak ada hubungannya dengan berapa banyak lensa yang Anda miliki, semua tips ini dapat diterapkan untuk kamera apapun, dan
semua contoh gambar ditembak dan diedit hanya menggunakan ponsel saya.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUE3Bi29eRjG8YYBObhi8FpoiVCGFAImqDKbXM89RgWCqt2oS1dpFRGb5c3xabbURfYQwpSF7AYvxEnn20Uih1HJKbuNvLyRxbnV0QxiAPnaimgq3xJEjDPsmHuHmfadMdB12NP5rWByXY/s1600/giraffe-1161785_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUE3Bi29eRjG8YYBObhi8FpoiVCGFAImqDKbXM89RgWCqt2oS1dpFRGb5c3xabbURfYQwpSF7AYvxEnn20Uih1HJKbuNvLyRxbnV0QxiAPnaimgq3xJEjDPsmHuHmfadMdB12NP5rWByXY/s400/giraffe-1161785_1280.jpg" width="400" /></a></div>
<div class="MsoNormal">
<o:p><br /></o:p></div>
<div class="MsoNormal">
<b>Tips 1: Ajarkan diri Anda untuk mengenali cahaya yang baik</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Saya menempatkan ini di depan karena saya tidak bisa
menekankan cukup, dan itu sesuatu yang bisa berlatih setiap menit sepanjang
hari, dengan atau tanpa kamera. Fotografi berarti, 'menulis (grafik) dengan
cahaya (foto)'. Kamera Anda memiliki hanya cahaya kotak bukti yang menangkap
cahaya yang masuk. Ada yang mewah, beberapa sederhana, tapi ini selalu esensi.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ujung terbesar saya dapat memberikan Anda adalah 'belajar
untuk mengenali dan menghargai cahaya yang baik', maka menangkap itu menjadi
bagian yang mudah. Adalah cahaya yang masuk melalui pohon-pohon dengan cara
yang indah? Apa warna cahaya? Apakah memantul dari permukaan reflektif dan
melakukan sesuatu yang menarik? Apakah menciptakan bayangan yang unik? Jika
Anda dapat belajar untuk melihat cahaya yang baik Anda sudah setengah jalan
untuk menjadi seorang fotografer yang baik.<o:p></o:p></div>
<div class="MsoNormal">
<br />
<a name='more'></a><br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Tips 2: Susun cara menangkap foto <o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ada banyak sekolah tentang bagaimana menyusun
sebuah foto, tapi prinsip dasar yang solid untuk memulai dengan yang
baik adalah 'rule of thirds'. Anda ingin membayangkan melanggar frame Anda menjadi 9
blok dengan ukuran yang sama, dan cara mudah untuk melakukan ini adalah untuk
mental menarik dua vertikal dan dua garis horizontal di seluruh pertiga dari gambar</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sekarang untuk menggunakan pola ini dalam framing Anda, Anda
juga ingin menulis setiap garis vertikal atau horizontal yang menarik pada ini
pertiga imajiner, atau Anda ingin menempatkan poin yang menarik pada salah satu
dari empat persimpangan dari garis-garis ini. Kedengarannya rumit tetapi
gagasan akan klik cukup cepat jika Anda mencobanya, dan itu akan berfungsi
untuk membuat Anda berpikir tentang bagaimana bentuk berpotongan dan mengatur
dalam bingkai.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
Di atas ini akan memberikan komposisi yang lebih
menyenangkan daripada hanya menunjuk kamera Anda langsung di subjek. Caranya
kemudian adalah belajar dan teknik lain yang membuat Anda berpikir tentang
mengatur elemen dalam bingkai, dan kemudian belajar kapan harus melanggar
aturan. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Tip 3: Konten adalah raja<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ini hampir klise pada saat ini tapi itu sebagai benar
seperti biasa. Anda harus bertanya pada diri sendiri apa yang Anda lakukan saat mengambil foto: Apa subjek Anda? Apakah itu menarik? Apakah itu terlalu jelas untuk mengatakan
bahwa menagkap gambar sesuatu yang menarik akan membuat untuk foto menarik? Ini
mungkin berlebihan, tetapi jika Anda berpikir bidikan Anda terlalu membosankan,
masalahnya mungkin sederhana ini. membidik sesuatu yang menceritakan sebuah
cerita, atau membeku sesaat. Hari itu anak-anak bermain dengan
tumpukan daun. Bahwa pengaturan cahaya atas bukit-bukit. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Ingat bahwa apa yang Anda masukkan di depan lensa akan
membuat foto, bukan kamera. Anda tidak bisa menyalahkan lensa. Kamera yang lebih
baik hanya membuat perbedaan tambahan untuk kualitas penangkapan, tetapi tidak
dapat membuat untuk subjek membosankan. Sebuah membosankan adegan foto pada
kamera terbaik di dunia masih hanya foto membosankan, tapi adegan menarik
foto pada ponsel dapat memenangkan penghargaan.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Tip 4: Jangan mengabaikan latar belakang Anda<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Anda mungkin keluar memfoto seseorang atau hal tertentu,
tetapi subjek Anda hanya akan membuat sebagian dari frame Anda. Tanyakan pada
diri sendiri apa yang Anda mengisi sisa frame dengan. Dengan memutar sekitar
subjek Anda sedikit Anda benar-benar akan mengubah latar belakang mereka
ditetapkan terhadap dalam komposisi.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
Bagaimana terang atau gelap adalah latar belakang? Apa warna
dominan latar belakang? Apakah itu berfungsi untuk memisahkan mereka dan
menyoroti apa yang terjadi, atau apakah subjek Anda tersesat terhadap adegan di
belakang mereka? Jika latar belakang Anda tidak bekerja, melihat hal itu, dan
posisi bergeser. Anda memiliki subjek, sekarang bergerak dan bingkai mereka
untuk menempatkan mereka dalam adegan.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Tip 5: Lihatlah sesuatu dari sudut yang berbeda<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Kita digunakan untuk melihat hal-hal dari 5-6 kaki dari
tanah tetapi Anda mungkin menemukan foto yang unik jika Anda dapat
menemukan cara untuk mendapatkan di atas subjek Anda, atau memfoto dari bawah
entah bagaimana.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
Mungkin Anda bisa mendapatkan di atas dekat, atau memfoto dari sudut yang menarik. Ingatlah untuk berpikir di luar kotak dan
bereksperimen dengan di mana Anda menempatkan kamera untuk memberikan sudut
pandang segar pada subjek akrab.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Tip 6: Menangkap detail<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Di atas mengambil foto orang dan tempat, perhatikan hal-hal
kecil. Jauhkan mata Anda keluar untuk rincian kecil kita semua berjalan
melewati setiap hari. Dengan mendapatkan di dekat dengan kamera Anda, Anda bisa
memberikan kita sekilas ke dalam dunia kita tidak pernah berhenti untuk melihat.
Pikirkan tentang tekstur dalam beton, pola pada daun, serangga, bentuk di
kulit.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Sebagian besar ponsel saat ini akan memungkinkan Anda untuk
mendapatkan sangat dekat dan mempertahankan fokus, dengan bonus tambahan yang
akan Anda memaksa latar belakang keluar dari fokus, memberikan Anda yang blur
seksi untuk menembak Anda yang orang mengasosiasikan dengan kamera akhir yang
lebih tinggi. Mencobanya.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
<b>Tip 7: Carilah baris<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Di mana-mana kita pergi kita dihadapkan dengan garis-garis.
Telegraf kutub. Cakrawala. Jalan Chem di langit. Batang pohon. Jalan. Pikirkan
tentang bagaimana Anda dapat menggunakan jalur ini untuk menunjukkan subjek
atau membuat bentuk yang menarik dalam frame.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> </o:p> </div>
<div class="MsoNormal">
Kadang-kadang Anda dapat menggunakan jalur ini untuk
benar-benar menunjuk subjek Anda dengan menempatkan mereka pada konvergensi
dari garis-garis di dalam bingkai. Kadang-kadang Anda dapat menggunakan garis
untuk membuat bingkai di sekeliling subjek. Mulai melihat garis-garis di
sekitar Anda, dan menggunakannya untuk keuntungan Anda.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Tip 8: Tunggu saat yang tepat<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
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Ini adalah di mana semua tips di atas datang bersama-sama
dalam beberapa saat. Banyak kali orang akan menempatkan kamera ke mata mereka
untuk mengambil satu gambar. Misalnya, Ibu ingin menangkap gambar anak-anaknya
bermain di sungai. Dia mengambil kamera, klik, dan berpikir 'pekerjaan'. Tapi
bagaimana jika Anda menonton sedikit lebih lama, menyesuaikan posisi Anda,
melihat apa cahaya lakukan, mengamati bagaimana subyek Anda bergerak, dan
menunggu saat yang sesuatu yang ajaib terjadi? Ini adalah perbedaan antara
hanya mengambil gambar atau benar-benar membuat gambar.<o:p></o:p></div>
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Henri Cartier-Bresson, yang dianggap sebagai ayah dari
street photography, menciptakan istilah 'saat yang menentukan' untuk
mengungkapkan bahwa pertemuan peristiwa yang membuat foto yang baik. Dia
akan berkemah di tempat di mana dia tahu terang itu baik dan komposisi bekerja,
dan kemudian menunggu keajaiban terjadi. Tentunya kita tidak semua memiliki
waktu untuk menembak seperti ini, tapi mungkin sikapnya membantu kita mengambil
langkah kecil jauh dari mentalitas 'cepat sekejap', menuju sebenarnya menciptakan
citra mengesankan dengan tinggal dengan saat ini dan sisanya menyadari semua
elemen kita sudah bicara tentang, untuk membuat sebuah foto yang tak
terlupakan.</div>
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<a href="http://petapixel.com/2016/01/20/8-tips-for-any-photographer-using-any-camera/"><b>http://petapixel.com/2016/01/20/8-tips-for-any-photographer-using-any-camera/</b></a><b><o:p></o:p></b></div>
Anonymoushttp://www.blogger.com/profile/03241096983878113538noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-32600317431229292862016-01-16T22:35:00.004-08:002016-02-01T19:17:34.890-08:00Cara mengajarkan fotografi hanya dengan 5 langkah oleh Cindy Reeves.<div style="text-align: center;">
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Menurut situs Cindy Reeves www.reevesphoto.com d</span><span style="font-family: "arial" , "helvetica" , sans-serif;">ikatakan bahwa foto-foto Cindy Reeves adalah "semua tentang pernikahan". Gaya unik dari fotografi pernikahan telah tampil di televisi dan di berbagai publikasi, termasuk Majalah People, Pernikahan Arizona, Arizona Bride dan groom Phoenix. Cindy adalah seorang fotografer yang sangat berbakat yang mengkhususkan diri dalam mengambil foto dengan detail dan emosi untuk hari istimewa Anda saat Cindy bekerja. sebelumnya ia bekerja di departemen Digital Imaging Arizona Republic sebagai editor foto digital selama delapan tahun sebelum bergabung dengan Reeves Fotografi sebagai fotografer profesional penuh waktu.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">pada sesi ini kita akan membahas bagaimana mengajarkan cara fotografi dalam 5 langkah mudah dan cepat oleh Cindy Reeves.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Tip # 1: Tentukan siapa yang Anda ingin ajarkan</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Biasanya setiap orang ingin belajar bagaimana cara menangkap gambar dengan baik, tidak hanya dari spesifikasi kamera mereka memiliki. tetapi mereka juga perlu mengetahui cara menggunakan kamera ini untuk menghasilkan foto yang bagus. Sehingga mereka dapat merekam atau mengambil gambar dari keluarga mereka seperti pertumbuhan anak-anak atau foto keluarga mereka.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Menurut Cindy, ada lima kelompok utama yang tertarik pada fotografi dan alasan mengapa Anda dapat memilih untuk mengajar setiap studi:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">a) Anak-anak: Apakah Anda ingin berbagi cinta fotografi dan seni dengan semua anak di mana-mana sebagai keterampilan untuk seumur hidup.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">b) Mahasiswa: Anda menawarkan diri untuk mengajar seni fotografi sebagai pilihan untuk sekelompok siswa home schooling atau setelah klub sekolah.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">c) Ibu: Anda ingin mengajar ibu dari bayi yang baru lahir seperti klien bayi fotografi Anda untuk mengambil foto lebih baik dan selalu menyarankan teman.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">d) Remaja: rata-rata orang yang mendapatkan kamera untuk hadiah dan tidak tahu bagaimana untuk membuka cap lensa, atau mengapa mereka tidak dapat lebih baik dari foto yang mereka ambil dengan ponsel mereka.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">e) kakek: pensiunan dalam perjalanan dengan kamera konsumen kualitas menengah bahwa mereka tidak tahu bagaimana cara menggunakan.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Tips # 2: Tentukan apa yang akan Anda ajarkan.</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sebagai fotografer berpengalaman, Anda mungkin tidak tahu di mana untuk memulai. Saran Cindy adalah untuk memulai dari yang kecil dan fokus pada dasar-dasar memfoto dalam mode Manual, yang adalah apa yang sebagian besar pemilik DSLR baru ingin tahu bagaimana cara melakukannya.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Jika Anda mengajar anak-anak, dari kecil dengan memperkenalkan mereka untuk fashion program yang berbeda pada kamera mereka dan apa yang masing-masing adalah mulai dengan modus potret untuk mengambil gambar orang, modus lansekap untuk pemandangan, dll sebelum pindah ke aspek yang lebih teknis fotografi, termasuk memfoto di Mode Manual atau mode lainnya.</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Tip # 3: Cari lokasi yang tepat untuk kelas Anda.</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Sekali Anda telah memutuskan siapa yang Anda ingin mengajar dan memiliki materi Anda, Anda akan perlu memutuskan lokasi. Ada banyak pilihan untuk dipertimbangkan, termasuk sebuah studio kecil fotografi, ruang konferensi hotel, atau bisnis gratis. Jika biaya sewa yang ideal. Lokasi yang terlalu tinggi, mempertimbangkan untuk menawarkan jasa fotografi dalam pertukaran untuk penggunaan ruang 10 Cindy merekomendasikan mempertimbangkan faktor-faktor berikut dalam memilih lokasi:</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">• Mudah diakses (mengingat jarak untuk berjalan kaki, menggunakan angkutan umum, dan saat parkir)</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">• Mudah untuk siswa Anda untuk mencari / menemukan</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">• cukup untuk ukuran kelas besar</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">• Biaya, termasuk asuransi jika diperlukan, biaya tambahan untuk meja dan kursi, peralatan, dll</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">• Ketersediaan meja / kursi</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">• Akses internet</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">• Ketersediaan tampilan layar atau proyektor tersedia untuk presentasi PowerPoint atau gambar tampilan</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">• Akan audiens target Anda seperti ruang</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">• Apakah asuransi yang dibutuhkan</span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Tip # 4. Jadwal kelas Anda pada waktu yang terbaik bagi siswa Anda.</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Tidak ada satu waktu yang ideal untuk mengadakan kelas fotografi. Waktu terbaik akan tergantung pada </span><span style="font-family: "arial" , "helvetica" , sans-serif;">target </span><span style="font-family: "arial" , "helvetica" , sans-serif;">siswa Anda.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Kelas untuk anak-anak terbaik diadakan setelah sekolah atau pada hari libur sekolah, termasuk hari libur, istirahat dan hari-hari ketika sekolah ditutup untuk pengembangan profesional karena orang tua sering mencari kegiatan untuk anak-anak di hari-hari. Kelas anak dapat diajarkan melalui serangkaian minggu, dalam sesi setengah hari, atau dalam sesi hari penuh.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Untuk kelas dewasa, Anda dapat mempertimbangkan tawaran minggu malam kelas dan pilihan akhir pekan. Jika target Anda adalah seorah murid, pertimbangkan waktu yang baik yang akan memungkinkan mereka untuk pulang kerumah dan untuk tidur atau memulai setelah tidur sebelumnya. Akhir pekan ini juga merupakan pilihan yang baik ketika anggota keluarga mungkin tersedia untuk menjaga.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Juga mempertimbangkan waktu tahun Anda akan menawarkan kelas Anda, dengan sebelum dan setelah liburan umumnya menjadi puncak waktu yang menarik.</span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;">Sebelum liburan, orang ingin belajar bagaimana menggunakan kamera mereka sehingga mereka dapat menangkap gambar yang lebih baik selama Thanksgiving dan Natal. Setelah liburan, selalu ada orang yang menerima kamera baru dan ingin belajar bagaimana menggunakannya. Dengan pengecualian tentu saja dari mengajar anak-anak kamp ', musim panas umumnya bukan waktu yang tepat untuk menawarkan kursus karena banyak orang bepergian. Minggu yang mengandung liburan juga umumnya bukan waktu yang baik untuk menawarkan kursus sebagai orang-orang yang datang dari / pergi berlibur.</span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Tip # 5. Rencana ke depan.</b></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Bersiaplah dan jangan berharap untuk dapat mengajar dengan cepat. Anda ingin terlihat profesional dan terorganisir. Pertimbangkan apakah Anda akan mendistribusikan tangan-out, memberikan kartu untuk bisnis fotografi Anda, dll Tiba cukup dini untuk lokasi Anda memiliki banyak waktu untuk set-up dan menciptakan suasana yang bersahabat dengan gambar yang ditampilkan dalam ruangan atau bermain sebagai slide . Untuk menciptakan minat dalam bisnis fotografi Anda, menaruh beberapa sampel atau album gambar sampel dan kartu pada tanda di meja. Siap untuk menyambut siswa saat mereka tiba.</span></div>
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Anonymoushttp://www.blogger.com/profile/03241096983878113538noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-89933312833629297382016-01-11T20:45:00.001-08:002016-02-01T19:15:27.997-08:00NEW! Elephone Explorer Pro action camera, Full-HD display.<div class="separator" style="clear: both; text-align: center;">
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<img alt="Elephone Explorer Pro B" src="http://www.drony-kamery.cz/wp-content/uploads/2016/01/Elephone-Explorer-Pro-B-919x641.png" height="278" width="400" /></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">Elephone has announced to launch its second action camera, Elephone Explorer Pro. Elephone Explorer that looks like the GoPro and it can shoot 4K videos. The camera will be powered by an NTK96660 chip, Sony IMX 117 (12MP) sensor. It will be the world’s first multiple languages supported action camera. </span></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">The Elephone Explorer weight with battery is 58 grams. This compact camera sports a 2 inch screen with 320 x 240 pixels resolution. It can record videos in 4K (3840 x 2160p) resolution at 15fps, 2.7K videos (1520p) at 30fps, FHD at 30/60 fps and 720p at 30/60/120 fps.</span><span style="background-color: white; color: #222222; font-family: "arial" , "helvetica" , sans-serif; line-height: 27.625px; text-align: justify;">.</span></div>
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<a href="https://www.gogi.in/wp-content/uploads/2015/11/Elephone-4K-explorer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Elephone 4K Explorer camera" border="0" height="219" src="https://www.gogi.in/wp-content/uploads/2015/11/Elephone-4K-explorer.jpg" width="400" /></a></div>
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<span style="font-family: "arial" , "helvetica" , sans-serif;">This device is powered by Allwinner V3 CPU (ARM cortex A7). The explorer gets power from a 900 mAh Li-ion battery. You can record 1080p videos continuously for almost 2 hours on a full battery charge. There is built in WiFi and an app that can be used to preview / control the DV camera.</span></div>
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<br />Anonymoushttp://www.blogger.com/profile/03241096983878113538noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-47171722285882349682015-12-23T01:02:00.003-08:002016-02-01T19:19:01.075-08:00Xiaomi Yi. A Super Powerful Tiny Action Camera<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmfEEczgQk0lespXhMHvI6EcEf-gCuVM998I3TB5uEfbY98Ro_HQdS_4y7scZl4JxOieGzv0PLoQin4ieSPyg0kIkQ3qUsrfUjtWW-ZsyXGl6yiu5IQaDWFIgYPn1HwAOaC4UCQqpIouLb/s1600/xiaomi-yi-action-camera-white-45.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmfEEczgQk0lespXhMHvI6EcEf-gCuVM998I3TB5uEfbY98Ro_HQdS_4y7scZl4JxOieGzv0PLoQin4ieSPyg0kIkQ3qUsrfUjtWW-ZsyXGl6yiu5IQaDWFIgYPn1HwAOaC4UCQqpIouLb/s320/xiaomi-yi-action-camera-white-45.jpg" width="320" /></a></div>
<span style="font-family: "georgia" , "times new roman" , serif;"><b><span style="color: #38761d;">Xiaomi Yi</span></b> is Action camera with a small compact form released by the company Xiaomi. Xiaomi is known with products smartphones and tablets are relatively cheap but the quality is qualified. And it turns out Xiaomi launched its own camera product called Xiaomi Yi. This product is new because previously existing action camera on the market, but the price is far above this Yi Xiaomi.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">The camera is smaller than the usual camera measures just 60.4 x 42 x 21.2 mm and weighs only 72g. the size and weight of this kind makes it very easy to carry anywhere without the need for a large storage space. Can be stored in a pocket or in a bag.</span><br />
<span style="font-family: "georgia" , "times new roman" , serif;">Xiaomi Yi superiority lies in the resolution of the camera is capable. The resolution is of 16 MP and it can record HD video with the video frame rate reached 1080p 60fps.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">Lens used is HD optical glass aspherical lens / F2.8 large aperture 155 ° super wide-angle with H.264 High Definition encoding software, MP4 formats. Data storage capacity on the camera is also quite broad, covering Support Micro SD Card up to 128GB.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX2-zDAP2gx7nDuLn6FvPkO9KtnJ74PfoY95vg01KW89wd1e2yuOo7LnM4s9S4-KDX3qLP13dgLEsXGYjUGK0oALUkGrh6HvPjCH1e1xqXGm_MQve17mpEmAkxIrSx6-W2ccKmXuTwMVa8/s1600/xiaomi-yi-action-camera-white-43.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgX2-zDAP2gx7nDuLn6FvPkO9KtnJ74PfoY95vg01KW89wd1e2yuOo7LnM4s9S4-KDX3qLP13dgLEsXGYjUGK0oALUkGrh6HvPjCH1e1xqXGm_MQve17mpEmAkxIrSx6-W2ccKmXuTwMVa8/s320/xiaomi-yi-action-camera-white-43.jpg" width="320" /></a></div>
<span style="font-family: "georgia" , "times new roman" , serif;">How to capture the picture is quite unique and different, because it must integrate with Xiaomi application in android smartphone. Because it does not have a view finder so by using the application in android you can see the view on your mobile phone screen.</span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;">In order to pursue without focus, ready to shoot can get a clear picture that Make You shock, to customized aspheric optics HD optical glass lens, viewing angle up to 155 °, into this camera. Therefore, the performance of large scenes with force special angle will give you a visual impact. Also use Sony image sensor and lens, each picture Eventually bring more natural effect.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSXuELO1nlV59m3KcHn8AZsoyX07byK3ljpHxDA-Tizjdxdocquh2DMoZbUjCZRwgdtlNCCyuKpLc-npxlpJKK4wHFLV0RPAs9izQ57nWNKX7JxzSslxEsqH-PUtQ8rbs_N_9ZVA7nJE1u/s1600/xiaomi-yi-action-camera-white-40.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSXuELO1nlV59m3KcHn8AZsoyX07byK3ljpHxDA-Tizjdxdocquh2DMoZbUjCZRwgdtlNCCyuKpLc-npxlpJKK4wHFLV0RPAs9izQ57nWNKX7JxzSslxEsqH-PUtQ8rbs_N_9ZVA7nJE1u/s320/xiaomi-yi-action-camera-white-40.jpg" width="320" /></a></div>
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And so.. Happy Weekend.. Enjoy the camera..</div>
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<span style="font-family: "georgia" , "times new roman" , serif;"><br /></span>Anonymoushttp://www.blogger.com/profile/03241096983878113538noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-15728206166867708482015-12-09T08:59:00.000-08:002015-12-10T21:42:07.557-08:00Digital Mirrorless Camera<div class="separator" style="clear: both; text-align: center;">
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<span style="color: #333333; font-family: "arial" , "verdana";"><span style="font-size: 12px; line-height: 20.4px;">The rise of the mirorrlens cameras in the last few years this shows that trend different in photography . This camera is different shape than DSLR, camera mirrorlens sleeker and easily brought to travel because of the mild and easily gripped. Canon which has dominated global camera sales for the last 13 years has almost completely missed this trend. </span></span><br />
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<span style="color: #333333; font-family: "arial" , "verdana";"><span style="font-size: 12px; line-height: 20.4px;">Global mirrorless camera sales were up 16.5 percent this year, while DSLR sales were down 15 percent. Yet Canon has just one line of mirrorless camera to its name, the Canon EOS M series, and it's done a poor job of cultivating these cameras since their inception in 2012. (For instance, the company has somehow only afforded them a very meager lens lineup for the M series, even though Canon's DSLR lens system is reputable and vast.) Canon has largely missed another recent trend, too, which is the application of retro film camera stylings on modern camera bodies.</span></span><br />
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<span style="color: #333333; font-family: "arial" , "verdana";"><span style="font-size: 12px; line-height: 20.4px;">Companies like Fujifilm and Olympus have owned this style in the last few years, releasing top quality digital mirrorless cameras that — thanks to brushed metal finishes, metal knobs, and rubber grips — are also easily mistaken for their film camera progenitors. </span></span><br />
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<span style="color: #333333; font-family: "arial" , "verdana";"><span style="font-size: 12px; line-height: 20.4px;">The Olympus PEN E-P5 has a 16.1-megapixel Live MOS sensor (such as the OM-D EM-5), the TruePic VI processor and a convenient touch-capacitive-adjustable (tilt) 3 "and 1037k points. The machine is equipped with an image stabilization system operating on a 5-axis that makes us earn up to five stop, it has an external electronic viewfinder and the shutter speed is 1/8000 seconds.</span></span><br />
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<span style="color: #333333; font-family: "arial" , "verdana";"><span style="font-size: 12px; line-height: 20.4px;">Like all cameras of the new generation has integrated Wi-Fi and the ability to record video in Full HD (1920 x 1080), in this case there is also the option of recording time-lapse movies in AVI Motion JPEG 1280 x 720 at 10fps.</span></span><br />
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<span style="color: #333333; font-family: "arial" , "verdana";"><span style="font-size: 12px; line-height: 20.4px;">It should be also improved autofocus system since there is no function High-speed AF that promises important new features compared to previous models, such as the E-M5. The sensitivity ranges from 100 to 25600 ISO. Among the most interesting features is the possibility of shooting in RAW + JPEG and gusts up to 9 frames per second. The machine is equipped with a small flash, as you can see in the photo, is located in the upper left.</span></span>Anonymoushttp://www.blogger.com/profile/03241096983878113538noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-26008341919572213562015-08-15T04:59:00.001-07:002015-12-10T21:41:51.657-08:006 must-have travel photography apps for iOS and Android<div dir="ltr">
While we love Instagram, there’s more to life than plopping a Valencia filter on your photos. Whether you’re looking to enhance pictures with fun graphics, have better storage options, or take DSLR-quality photos, there’s an app for that. Below are some of the hottest new photo apps to help you capture and archive your journey:</div>
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1. Bevy (iOS & Android; $349+). The reason this app is so expensive is that it requires you to invest in the wireless storage device it pairs with. That being said, if you travel as a group and want to easily sync your photos and videos, it could be a great investment. The app collects media from everyone in the group and stores it offline on the device without the need for manual backups. While pre-orders are sold out, Bevy officially launches in October.</div>
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2. Foap (iOS & Android, free). One of the many apps that helps travel photographers make money, Foap connects you with brands that give you assignments (think “awesome feet selfies” and “me and my bicycle”) and sells your pictures for $5 in the Foap Market. It also functions as regular ol’ social media, in that users can follow each other and like or comment on photos. A few other apps with similar models include Snapwire, Clashot and Scoopshot.</div>
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3. 645 Pro Mk III (iOS; $3.99). This app is just as technical as it sounds — it turns your smartphone into a DSLR interface. While it takes a bit of getting used to, once you do, you’ll be able to manipulate exposure, white balance and focus — and there’s even histogram data, shutter speed and aperture priority modes, and post processing tools. For an Android semi-equivalent, try Camera FV-5 ($3.95). Both apps are great for travelers wanting to take professional-quality photos without lugging around a professional camera.</div>
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4. TouchRetouch (iOS & Android; $1.99). I hate taking an awesome travel photo only to have it marred by a garbage can or telephone pole. That’s where TouchRetouch comes in, as you can easily remove unwanted objects by simply swiping your finger. While there are a few apps out there that do this, the clarity and precision on this one is superb and very worth shelling out a couple dollars for.</div>
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5. Lenstag (iOS & Android, free). While Lenstag won’t help you take better photographs, it will keep your gear protected. The complimentary registration database allows you upload gear photos and serial numbers. If an item is stolen Lenstag creates a public page to help track it down.</div>
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6. PicLab (iOS & Android; free). To add a bit of fun to your travel photos, PicLab lets you enhance them with typography, graphics, filters, collage effects, shapes, borders and other additions, with the ability to (of course) share your creation on social media. </div>
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Here’s a tip: No matter which app or gadget you go for, make sure to keep simple tips for stellar travel photography in mind, such as the Rule of Thirds and leading into a frame with natural lines, as there’s no replacement for creativity and skill.</div>
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Writer:<br />
Jessica Festa is the founder on the solo and offbeat travel blog, Jessie on a Journey, and the online responsible tourism and culture magazine, Epicure & Culture. She’s constantly searching for local experiences beyond the guidebook. You can follow her travels on Facebook, Twitter and Instagram.</div>
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Source: <a href="http://roadwarriorvoices.com/2015/08/12/6-must-have-travel-photography-apps-beyond-instagram/">http://roadwarriorvoices.com/2015/08/12/6-must-have-travel-photography-apps-beyond-instagram/</a></div>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-59377720921853390892015-07-20T20:16:00.001-07:002015-12-10T21:41:32.938-08:0011 of the Most Interesting Lenses in the History of Photography<div dir="ltr">
11 of the Most Interesting Lenses in the History of Photography</div>
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For almost two centuries, the science and art of photography has allowed people to capture the world around them through carefully crafted lenses. However, not all lenses are created equal. While most lenses just aim to please, others aim to impress. Today, we are taking a look at some of the most exotic lenses we could find.</div>
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#1. Lomography Petzval Portrait Lens: Creamy Bokeh</div>
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The Petzval lens has been in the spotlight since Lomography resurrected it in 2013 via KickStarter. The original glass, however, was developed in 1840 by Joseph Petzval. The lens itself is comprised of two doublet lenses and a Waterhouse aperture. The result is a lens with an extreme drop off in sharpness at the edges and a unique creamy bokeh. Lomography currently sells the glass starting at $599.</div>
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#2. Nikkor 6mm f/2.8 Fisheye Lens: Super Wide Angle</div>
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The legendary Nikkor 6mm f/2.8 from 1973 is a fisheye lens with an extreme 220-degree field of view, allowing the glass to see behind itself. The lens consists of 12 elements in 9 groups that work together to make the 11 pound engineering marvel possible. The Nikkor 6mm also includes six built-in filters for white balance. The most recent copy of this fisheye lens to surface was sold in London for $160,000.</div>
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#3. Carl Zeiss Planar 50mm f/0.7: Extreme Speed</div>
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Originally designed in 1966 to allow NASA capture photographs on the far side of the moon, the Carl Zeiss Planar 50mm f/0.7 is one of the fastest lenses (if not THE fastest) ever produced. Only ten copies of the lens were manufactured: Carl Zeiss kept a copy, NASA purchased six, and Director Stanley Kubrick bought three. The Planar 50mm f/0.7 lenses allowed Kubrick to shoot a scene lit only by natural candlelight in his film, Barry Lyndon – a feat that would have otherwise been impossible.</div>
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#4. Carl Zeiss Apo Sonnar T* 1700mm f/4: Super Telephoto</div>
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If you were a photographer with seemingly unlimited monetary resources, how would you spend your wealth? How about hiring Carl Zeiss to build you a custom lens? In 2006, Carl Zeiss showcased their massive Apo Sonnar T* 1700mm f/4 lens at Photokina in Germany. The lens was designed for an anonymous “wildlife photography fan” in the State of Qatar. The price is also a mystery, but what we do know is that the lens is made up of 15 elements in 13 groups and was designed for medium format systems.</div>
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#5. Sigma 200-500mm f/2.8: The Sports Beast</div>
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This piece of equipment is not a bazooka, but rather an extremely fast sports lens designed by Sigma. The 200-500mm f/2.8 is one of the fastest sports lenses on the market and includes a 2x teleconverter so you can easily zoom in up to 1000m. Did we mention that it needs its own battery pack for autofocusing? At least it comes with a free case for the $26,000 price tag. There are also some hilarious reviews of the lens on the Interwebs.</div>
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#6. Canon 5200mm f/14: Extreme Distance</div>
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If none of the above lenses seem to quench your thirst for focal range, then maybe Canon’s 5200mm prime lens will get you interested. Weighing in at over two-hundred pounds, without its stand this piece of glass isn’t one you’d take backpacking. The Canon 5200mm has an f-stop of f/14 and is designed to focus on objects over thirty miles away. Only three copies of the lens were manufactured; one of which appeared and sold on eBay for $50,000 a few years back.</div>
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#7. Leica Noctilux-M 50mm f/0.95: Speed and Precision</div>
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A company known for their high-quality German engineering, Leica produced the Noctilux-M 50mm f/0.95 and continued to push the barrier for what is possible. While not the fastest lens in history, the 50mm f/0.95 is the highest-speed aspherical lens. What this means is that despite having such a wide aperture, the Noctilux-M stays extremely sharp. Leica advertises that the lens “out-performs the human eye”, but it is up to you to decide if the $10,000+ price tag is worth it.</div>
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#8. Meyer Optik Trioplan f/2.8: ‘Soap Bubble’ Bokeh</div>
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We recently covered the Kickstarter campaign to bring back Meyer Optik’s legendary Trioplan 100mm f/2.8 lens. Another lens that delivers unique bokeh, the Trioplan f/2.8 has an out of focus appearance that people refer to as ‘soap bubbles’. Originally designed in 1916 by Hugo Meyer, the lens has successfully reached its crowdfunding goal and will be heading to market later this October for $1000.</div>
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#9. Lensbaby Composer Pro 50: Sweet Spot Focus</div>
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Not all unique lenses have to break the bank and Lensbaby’s Composer Pro with Sweet 50 Optic helps to prove this point. For $299, you can own a unique lens that allows you swivel your favorite aspect of a photograph into focus while plunging the edges into a deep blur. The Composer Pro with Sweet 50 has an aperture of f/2.5 and is compatible with both APS-C and full frame cameras. 35mm and 80mm variations of the lens exist for $379 and $499 respectively.</div>
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#10. Canon 1200mm f/5.6: An Olympic Giant</div>
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The Canon 1200mm f/5.6 may not break any records on this list, but it is still a classic that cannot go without being mentioned. Featuring 13 elements in 11 groups, this 36-pound super telephoto prime lens first appeared at the 1984 Summer Olympics in Los Angeles. Featuring an impressive focal distance, it was aimed at sports and wildlife photographers. Fewer than 100 copies of the lens were manufactured. One was last sold by B&H for $180,000 in April 2015.</div>
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#11. Leica APO-Telyt-R 1:5.6/1600mm: The Most Expensive</div>
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A Qatari prince paid a whopping $2,064,500 for a copy of the Leica APO-Telyt-R 1:5.6/1600mm, one of two in existence, making it the world’s most expensive lens. It measures approximately 4-feet long and weighs 132 pounds.</div>
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http://petapixel.com/2015/07/20/10-of-the-most-interesting-lenses-in-the-history-of-photography/</div>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-54392852266922180102015-07-20T05:02:00.001-07:002015-12-10T21:41:20.190-08:00Sony a7RII<div dir="ltr">
The Sony a7 series of cameras has been wildly popular in the last few years and has certainly stirred the mirrorless versus DSLR debate, along with other popular cameras like the Fujifilm X-T1. I'm not here to reignite that debate, at least not intentionally. Most cameras these days, mirrorless or DSLR, are incredibly advanced and capable machines that will give excellent images in almost any situation when used correctly. Of course, some excel where others fall short, but nonetheless, camera performance is at a remarkably high level.</div>
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I've always been intrigued by mirrorless offerings; features like WYSIWYG (what you see is what you get) viewfinders and the beautiful colors of Sony and Fuji sensors were quite tempting, but I never sold off my Canon kit and took the plunge for two reasons: lens availability and AF speed. Sony's lens lineup hasn't been particularly well filled out for this system and while most standard lenses have begun to appear, specialty portrait lenses, super telephoto, and higher-end low light zooms have been lacking. This really limits the native abilities of the system. On the other hand, Fuji has been releasing lenses at a blistering rate, but unfortunately, the APS-C sensor takes it out of the running for me. That's not to say it's not a great sensor, but as someone whose work frequently requires high four-digit and occasional five-digit ISOs, I just couldn't sacrifice a full-frame sensor (though I will say the high ISO performance of the X-T1 is highly impressive for the sensor size).</div>
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The solution would be to use adapters to mount my Canon lenses to the Sony, right? Who can argue with Canon's vast library of glass paired to a sensor with some of the best color reproduction and dynamic range out there? Well, I can, and for one reason: AF speed. Early on, mirrorless cameras were notoriously slow at autofocusing, mostly due to the fact that they by and large used contrast detection AF, which is slower than phase detection AF for several reasons. In recent years, phase detection has been integrated onto mirrorless sensors and the autofocus gap has started to close. Nonetheless, when using adaptors, phase detection autofocus was unavailable. Until now.</div>
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Phase Detection Autofocus<br />
The Sony a7RII can use phase detection autofocus when using an adaptor for Canon EF lenses. Sony has trumpeted the improved autofocus speed as being on par with native body performance (including continuous autofocus and tracking) and though unbiased hands-on examples are scarce at the moment, those that are out there have been quite promising. This is the feature that can potentially represent a fundamental paradigm shift in the world of imaging.</div>
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Until now, cameras and lenses were essentially all or nothing affairs; if you bought into one brand's lenses, you also bought into their bodies and vice versa. Some systems allowed adaptors, but there were always compromises, namely reduced AF performance. This was of course acceptable for certain applications, namely where accuracy, but not speed was key. However, in high performance situations, this just wasn't good enough.</div>
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I like autofocus. Many mirrorless cameras, including the a7 line, have excellent manual focus features, but at the end of the day, in high performance or high stress situations, having a reliable AF system removes one large factor to worry about. Preliminarily speaking, the AF system on the a7RII looks excellent. With 399 on-sensor phase detect autofocus points (and 25 contrast detect) that cover a larger portion of the frame with a greater density than any current full-frame system, the a7RII looks to have both precise and wide-ranging tracking abilities, assuming performance is up to par.</div>
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If the AF is really everything the early reports say it is, this is groundbreaking. Sony will have obviated the need to use native lenses for decent autofocus performance and opened up the a7RII to an entire library of lenses, without the compromise in AF performance. Granted, AF is not guaranteed to work on Canon lenses made before 1996, but essentially every current version of a standard or specialty Canon EF lens was made after 1995. Furthermore, on-sensor phase detection autofocus points have traditionally been small, meaning that in low light, the system reverts to contrast detection and the dreaded slowness returns. However, Sony has rated the phase detection system onboard the a7RII to -2 EV, equivalent to the 5D Mark III, which has a stellar AF system itself. This potentially means that the Sony system truly does cover all situations.</div>
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A further benefit of on-sensor phase detection autofocus is that because the measurements are made on the imaging sensor and not by a separate AF module, differences in calibration between the AF sensor and imaging sensor will be nonexistent, meaning focus accuracy might actually be higher than most DSLRs. The only drawback seen so far is the 5 FPS maximum shooting speed; it's decent, but for a camera with such a potentially amazing autofocus and tracking system, 8–10 FPS could make it a real monster. However, I've yet to see any full-frame above 25 MP (the a7RII is 42.4 MP) come close to those numbers.</div>
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Other Features<br />
On the topic of the number of megapixels, another feature has me excited. When I heard the a7RII was 42.4 MP, I was disappointed as I expected noise performance not to be up to today's leading high noise performers, which typically have lower MP counts. The curve ball here, though, is that the sensor is the world's first full-frame back-illuminated sensor. Traditional sensors actually don't gather all of the light hitting them; the wiring and electronics reflect a lot of the incoming light back. Back-illuminated sensors move the wiring behind the photodiodes, reducing reflections and increasing the ability of the sensor to capture incoming light by up to 30 percent in some cases. This means higher sensitivity and better low light performance. Sony has capped the ISO range of the a7RII at 25,600 (expandable to 102,400), and while those numbers are impressive given the MP count, we'll have to wait to see actual image samples, but nonetheless, the inclusion of this technology is promising.</div>
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Add in features like 5-axis in-body image stabilization, reduced shutter vibration, and a silent mode with a fully electronic shutter, it seems as if the a7RII might be a monster of a camera. For me, though, the ability to use phase detection autofocus with nonnative lenses might be the feature that shifts the paradigm and opens the door to a new way of building a camera kit without compromise. Of course, we'll have to wait until the a7RII is actually released to see if the performance is up to par, but if early tests are shown to be true, it could be a groundbreaking camera.</div>
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Source: https://fstoppers.com/critiques/why-sony-a7rii-could-be-most-important-camera-years-76556<br />
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HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-36596331783859449132015-07-16T22:52:00.001-07:002015-12-10T21:40:32.967-08:003 ways to turn your iPhone into a professional-grade camera<div dir="ltr">
Summer is here, which means you have the opportunity to capture priceless moments at the family reunion, barbecues, sports events and other fun gatherings. You just need a camera.</div>
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Spending thousands on an expensive camera, however, is completely unnecessary when you have a powerful photography tool in the palm of your hands, literally. Your trusty iPhone is packed with cool features to help you take stunning photos in a flash.</div>
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From aligning your pictures perfectly to making sure you capture the best picture possible, Apple's iconic smartphone can do it all.</div>
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I'm here to bring you a few tips that can really enhance the pictures you take with your iPhone. Once you try them out, you'll wonder how you had ever gone without them.</div>
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BURST INTO ACTION</div>
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Trying to capture the perfect picture while your grandson is making a breakaway play in his soccer game or to catch the beautiful scenery during your summer road trip can be hard. The images often come out blurry or focused on the wrong part of the image.</div>
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Apple tried to fight this by introducing Burst mode for the iPhone 5s and up. With Burst mode, you can capture photos in rapid succession, up to 10 shots per second, so you can improve your chances of getting the ideal shot.</div>
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Using Burst mode is easy. Just tap and hold down the shutter button (or volume up button) when you want to begin rapid-fire shooting. As you're holding down the shutter button, you'll see tiny thumbnail images of the photos you've snapped appear. This will help you know how many photos you took and decide when you have enough.</div>
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To stop shooting photos in Burst mode, just lift up your finger and all of the photos you took will be saved on your Camera Roll.</div>
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USE THE CAMERA GRID TO SET UP YOUR SHOTS</div>
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Have you ever heard of the rule of thirds? It's the way you should frame the pictures you take to make them as visually appealing as possible.</div>
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According to the Digital Photography School, "The basic principle behind the rule of thirds is to imagine breaking an image down into thirds (both horizontally and vertically) so that you have 9 parts ... The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally."</div>
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You can use the rule of thirds grid right on your iPhone to help make every photo you take more visually appealing. When using this grid, try to line the subject of your photo up to intersections of the four lines. As seen in the photo above.</div>
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To enable the rule of thirds grid, go to your main Settings page>>Photos & Camera>>Camera>>Grid>>Toggle Grid slider on. Now when you open your camera, you will see the grid before you take your pictures like the image below.</div>
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The grid won't show up on your finished photo. It's just meant to be a guideline before you snap the picture. You can turn off the grid by following the steps above and toggling the Grid slider off.</div>
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GIVE YOUR PHOTOS A LITTLE EXPOSURE</div>
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Just like a fancy digital camera, your iPhone can adjust the level of exposure for every photo before you take it.</div>
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I'm not talking about public-type exposure, I'm talking about the level of light that your iPhone's camera allows into the shot. In the photography world, that level is called exposure and it can turn your dark, unrecognizable photo into a masterpiece.</div>
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With the development of iOS 8, technicians worked to include an exposure tool that you can slide up or down to indicate the amount of exposure to light that you want the particular photo to have.</div>
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To experiment with exposure, launch the Camera app and tap on the screen to bring up the focus point. Tap and hold on the sun icon and the exposure slider will appear. Drag the slider left or down to make the photo darker, or drag your finger right or up on the slider to make the photo brighter.</div>
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Now you'll be able to manually adjust the level of brightness in each of your photos before you take them. Your pictures will be in focus and with the correct amount of light, instead of dark and blurry!</div>
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Source: http://www.komando.com/tips/316397/3-ways-to-turn-your-iphone-into-a-professional-grade-camera/all</div>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-30387847406130402242015-07-16T05:10:00.001-07:002015-07-16T05:10:49.769-07:00Panasonic G7 review<p dir="ltr">Panasonic has introduced the Lumix G7 to replace the G6, and it sits just below the Panasonic GH4 – but alongside the GX7. That’s a lot of G numbers, but basically, the Panasonic G7 is the company’s mid-range compact system camera.</p>
<p dir="ltr">The Panasonic G7 features the same sensor as the GX7, which seems to be Panasonic’s flagship sensor. With 16 million pixels, it has the same resolution as the G6, but the sensor itself is newer (although it is still two years old).</p>
<p dir="ltr">There’s also now the same Venus Engine 9 which is found in the GH4, which, according to Panasonic means that the combination produces the best image quality of any Panasonic camera to date.</p>
<p dir="ltr">The new processor also means that native sensitivity range has been boosted from ISO 200 – 25,600, with an expansion setting of ISO 100. The G6 could only shoot at 25,600 in an expansion setting, so there’s a good chance that image quality at the higher end of the spectrum has been improved</p>
<p dir="ltr">Full resolution continuous shooting is possible thanks to the quad-core CPU for fast processing. Up to 8fps is available in Single-AF mode, or 6fps in Continuous AF mode. The Panasonic G6 was capable of 7fps and 5fps, respectively.</p>
<p dir="ltr">However, the big news with this camera is the new 4K modes, which should have lots of appeal to both videographers and stills photographers. Shooting at 4K continuous allows you to shoot at 30fps and extract the frame you need.</p>
<p dir="ltr">This means however that resolution drops to 8 million pixels, but this is still large enough to create A4 prints. There are a variety of different 4K shooting modes to choose from, and it can be utilised in any exposure mode (such as aperture priority or shutter priority).</p>
<p dir="ltr">The same depth from Defocus (DFD) system as first seen in the GH4 has also been added to the Panasonic G7. It uses lens data and the contrast of a scene at two different focus points to help it determine an accurate focus speedily. Focus speeds of just 0.07 seconds are claimed, which is roughly half the time the G6 takes.</p>
<p dir="ltr">In what may be seen as a fairly unusual move, Panasonic has included only Wi-Fi connectivity for the Panasonic G7, ditching the NFC as found in the G6.</p>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-60477753271208585292015-07-12T22:37:00.002-07:002015-07-12T22:37:41.585-07:00Photography tips for kids<div class="separator" style="clear: both; text-align: center;">
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With the advent of phones that can be used as cameras and online picture-sharing sites like Instagram and Tumblr, everyone can start snapping. While easy tools are encouraging us to think about photography in new ways, there is now a generation of kids (and their grown-ups) keen to learn more about using a camera or a phone to take great pics. Use the school holidays to explore "life through the lens" with these ideas to inspire budding photographers.<br />
<a name='more'></a><br /><b>Photography classes</b><br /><br />Auckland Zoo is a great place to go to see wild animals, learn more about their habitats and how we can do our bit to preserve both the animals and their environments. It's also one of the best places to learn how to photograph animals - wild and not-so-wild - with classes for beginners through to more advanced snappers. Students start the day with a professional photographer learning about aperture, shutter speed, ISO and composition followed by an afternoon safari around the zoo to put the theory into practice. The Young Photographers Workshop for 10-14-year-olds has an experienced zoo guide to share their top tales about the animals and take the kids to meet some of them up close. I completed a beginners' course and found it an extremely informative and fun day. No matter what sort of camera you're using or how good you are, you'll end up leaving a much better photographer than you were when you arrived.<br /><br />Takapuna's Lake House Arts Centre has added a new kids' class in response to the growing interest young people are showing in photography. The seven-week course is tutored by professional photographer Julia Glover. Each 1.5-hour class will focus on a different genre - landscape, portraiture and food, for example - as well as the history and theory of photography. Education co-ordinator Sally Lush and Julia hope budding young photographers develop their creativity and learn more about what makes a great shot. And you don't need to fork out for a fancy camera - mobile phones or cameras of any style can be used, Sally says.<br /><br /><b>Take photos</b><br /><br />Here are some ideas to get snapping these school holidays:<br /><br />Great locations include the Auckland Zoo; regional parks like the Waitakere and Hunua Ranges; urban escapes such as Cornwall Park and the Auckland Botanic Gardens, and our beaches can be stunning even on winter days.<br /><br />Take up Steve's mentor's suggestion: think about what's in your neighbourhood - the buildings, landscapes and people can tell stories about where you live.<br /><br />Learn by example. Check out National Geographic's Your Shot website, where professional or hobbyist photographers share their best pix. You can contribute photos (and captions) to themed assignments curated by National Geographic staff, enter competitions and glean tips and hints from the pros.<br /><br />The kids' section includes especially selected photos, games and activities.<br /><br />Young photographers attending the workshops at Auckland Zoo. Photo / Supplied<br />Young photographers attending the workshops at Auckland Zoo. Photo / Supplied<br /><b><br />Hear an award-winning photographer</b><br /><br />Award-winning National Geographic photographer Steve Winter grew up in Indiana and was given a camera for his 7th birthday by his father, a keen amateur photographer.<br /><br />Steve's in town next month to inspire those who love travel, exploration, discovery and photography. He'll take audiences trekking into some of the world's most remote locations, sharing stories about camping at 15,000ft (4572m), being charged by rhinos, caught by quicksand, tracking down big cats and coming face-to-face with a tiger.<br /><br />His advice to aspiring young photographers is to take pictures whenever and wherever you can and not to worry about making mistakes, because it's how you learn. Steve wanted to be a photographer from the time he got his first camera. After university, he signed on as a photojournalist for Black Star Photo Agency, taking pictures for the likes of Time, Newsweek, Natural History, Scientific American and more.<br /><br />"Photography is about using pictures to tell a story and the best thing you can do, as an aspiring photographer, is to learn how to do that," he says. "It means thinking about composition and the story you want your pictures to tell.<br /><br />"When I was growing up, I thought the stuff around me was boring. The best pieces of advice a photographic director at National Geographic told me was, 'if you show me someone who can bring in a story shot 15 miles from their home, I'll give them a job', because there's an art to finding stories in your own neighbourhood. We all have stories in our lives, our neighbourhoods and our families."<br /><br />He has a mission, saying that sharing the beauty of big cats - tigers, jaguars, snow leopards and cougars - prompts us all to work toward saving them.<br /><br />"By saving the world's top predators, we save huge forests, rivers, wildlife and, ultimately, our planet."<br /><br />Lions in South Africa. Photo / Steve Winter<br />Lions in South Africa. Photo / Steve Winter<br /><br /><b>Powerful photo exhibition in town</b><br /><br />As its name suggests, the World Press Photo Exhibition is a travelling show of best shots from the annual press photography contest. Thanks to the Rotary Club of Auckland, it's in town this month. Entries from 5692 professional press photographers from 131 countries (97,912 images in total) were whittled down to 45 prizes in eight categories by a jury of internationally recognised photojournalists.<br /><br />The 41 winners come from from Australia, Bangladesh, Belgium, China, Denmark, Eritrea, France, Germany, Iran, Ireland, Italy, Poland, Russia, Sweden, Turkey, Britain and the United States. Some of the images are pretty powerful and poignant - disturbing even - so the exhibition is recommended for those over 12.<br /><br /><b>Need to know</b><br /><br />Auckland Zoo Photographers' Workshops run throughout the year. Kids' workshops this Wednesday, July 15 (9.30am-2.30pm). Kids need to be 10-14, with a digital camera. $95 per child, which includes zoo entry. Bookings essential. For more details on this and the adult workshops see the Auckland Zoo website.<br /><br />Lake House Arts Centre's 7-week Saturday Morning Photography Club for 8-16-year-olds (August 8-September 19, 9am-10.30am). $140 (or $130 for Lake House members), bookings essential. Ph (09) 486 4877.<br /><br />National Geographic Live: My Nine Lives with Steve Winter, ASB Theatre, Aotea Centre, Wednesday, August 5. Tickets from $39. Book on 0800 111 999.<br /><br />The World Press Photo Exhibition, Level 6, Smith & Caughey's, Queen St, July 4-26. Tickets $10 weekdays, $15 weekends, students $5.<br />
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Source: <a href="http://m.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=11478812">http://m.nzherald.co.nz/lifestyle/news/article.cfm?c_id=6&objectid=11478812</a><br />
<br />HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-22382132797942069122015-07-12T22:33:00.000-07:002015-07-12T22:33:26.834-07:00Travel Photography 101: tips for better shots this summerPerhaps you too love taking great images. But, if you’re like most budding photographers, you’re often disappointed with the results. (Don’t worry, professionals suffer many disappointing moments as well!). Some of the most common mistakes? Blown out skies. Soft focus. Tilted horizon lines. Underexposure. Distracting elements. And inaccurate colours. Here are a few tips that address these issues … and more. Because, in my opinion, it’s better to take one amazing image than 100 poor ones.<br /><br /> Shoot In Good Light — It’s been said a million times before, but shooting in the early mornings (yes, that sometimes means getting up at 5 a.m., or earlier!) and late evening — when golden, low-angled light provides beautiful shadows and detail — is critical for good outdoor photos. If you really want nice photos, especially nature and landscapes, avoid the harsh, mid-day light at all costs. And just a simple tip for shooting people — get them in the shade!<br />
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<a name='more'></a><br /> Know How To Use Your Equipment — “Wow, you must have a really good camera,” is a line I often hear. The comment is always well intended, of course, but it’s only part of the equation. While having a decent camera is somewhat important, it’s more important that, regardless of what you’re using, you know how to use it. Point and shoots can produce stunning results, too. Especially if the operator knows how to compose, adjust exposures, work the settings to accommodate the subject best, nail the focus, etc.<br /> Learn How To Edit Your Photos — True, a lot of it comes down to personal preference. However, you still need some skills when it comes to managing your files and doing the bare essentials when it comes to processing. Things like cropping, adjusting the white balance (ie: snow should not be yellow!), and fixing crooked horizon lines are necessary skills.<br />
<br /> Be Selective, Take Your Time, and Compose Great Images — News flash: having a beautiful poplar branch in the foreground does not, typically, enhance your composition. A branch in the foreground is called a distracting element. However, using leading lines — things like shorelines, winding roads, rivers, etc. — can be a powerful way to lead the viewer’s eye into the scene and produce a winning image. Take your time! Think about what you’re trying to achieve with the shot. Avoid too much boring space in the foreground. If the sky is bland don’t include any of it in your image. And only shoot when you really believe you have the right elements in place.<br />
<br /> Use the Rule of Thirds — Placing your subject right in the middle of your image will usually produce a boring, static image. Use the full frame. Divide your image into thirds and position your subject on one of those “lines.” Then find leading lines to draw the eye to that location in the image. Then, if you’ve got good light and a compelling subject, you’ve got an image!<br /> Do Your Research — The best images are typically made when a photographer does his/her homework. In other words, don’t waste your time photographing a scene during a time or season when it doesn’t look good. Instead, plan to photograph a scene during the best time of year with the best lighting possible. This means you may have to make multiple visits to the same location to “nail it.”<br />
<br /> Use Filters — Polarizing filters are important to use if you want nice blue skies in your photos. Grey neutral density graduated filters are also handy accessories if you want to keep the colour in your skies and still get a nice exposure in the foreground. If you don’t know how to use them or where to get them, do some research. The Internet will tell you everything you need to know — and then some — about filters. Also, experimenting with HD photography and stitching multiple exposures together is also another way to help manage exposures.<br />
<br /> Practice Makes Perfect — There is no such thing as producing consistently amazing imagery if you don’t get out there and practise your craft on a regular basis. Photography is like anything else. That is, if you put some time and effort into it you will be rewarded. Happy shooting!HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-54431321749369453352015-07-09T23:41:00.001-07:002015-07-09T23:41:37.063-07:00Don't buy the Fujifilm X-T10 if you will only leave it in automatic modeDon't buy the <b>Fujifilm X-T10</b> if you will only leave it in automatic mode. You'd be wasting your money and missing the camera's entire appeal.<br /><br />The X-T10 is for people who understand (or want to learn) the intricacies of manually adjusting camera settings. At $800 for the body and $1,100 with an 18-55mm kit lens (what I tested), it's built for professionals who abhor touchscreens and love physical buttons and dials.<br />
<a name='more'></a><br />The camera also takes beautiful photos just like its more expensive big brother, the $1,200 X-T1.<br /><br />See also: Can Fujifilm Bring Instant Film Cameras Into the Selfie Era?<br /><br />Usually, when a company tries to sell you a cheaper version of its flagship product, corners are cut big time. The X-T10 retains most of the X-T1's key features. It has a 16-megapixel APS-C X-Trans CMOS II image processor, shoots 8 frames per second (fps) in burst mode and records video in various frame rates including 1080p full HD (60 fps).<br /><br />If you've lusted for the X-T1, but could never justify one because of the price, the X-T10 looks to be the perfect little shooter without much compromise.<br /><br />Old-timey design<br /><br />The X-T10 can easily be mistaken for an old film camera. While walking around New York City, I had a few people ask me why I was shooting film. When I told them it was a digital camera, they were intrigued.<br /><br />I'm all for minimalist designs, but the X-T10 has character that other mirrorless cameras don't.<br /><br />The myriad controls (more on that below) are inviting, begging you to press each button, turn each dial and flip each lever. And, oh how satisfying they are to touch.<br /><br />The camera body is made of plastic and not metal like on the X-T1, but it doesn't feel inferior at all. In fact, the only time it's obvious there's plastic is when you have the built-in pop-up flash flipped up.<br /><br />At 13.4 ounces, the body is sturdy and has a good heft to it. The camera is wrapped in rubber and the grips (front and back) are roomy.<br /><br />The only cues that this camera is digital are on the backside. The 3-inch 920K-dot display is sharp beyond all expectations and the screen pops out and tilts — 45 degrees down and 90 degrees up, which is always a plus. The lack of a touchscreen might upset some people, but let me remind you again: If you want something straightforward, use your phone or buy a different camera.<br /><br />The viewfinder is also an electronic one and not an optical one; when you bring the camera up to your eye, you see a tiny screen. Electronic viewfinders (EVFs) used to be low-res and laggy just a few years ago. The one on the X-T10 is easily one of the best; it's high-res and very bright — exactly how an EVF should be.<br /><br />The X-T10 has built-in Wi-Fi and connects to iOS and Android devices. The Fujifilm remote app is outstandingly good. You can use it to adjust all of your camera settings and remotely snap photos and start a video recording. I didn't experience any sudden wireless dropouts between my iPhone 6 and the camera like I usually do with other cameras.<br /><br />The camera's battery life is also as good as the X-T1: Up to 350 shots per charge.<br />Control heaven<br /><br />If smartphones and simple point-and-shoots have you jaded about the future of cameras, the X-T10 is reassurance that physical buttons are here to stay for a very long time.<br /><br />The camera's body is covered with buttons, dials and levers.It's a photographer nerd's dream.<br /><br />On the left side of the camera is your drive (mode) dial. Fujifilm doesn't follow other camera companies with the traditional PSAM (Program, Shutter-priority, Aperture-priority, Manual) labeling, but that's fine. The system takes some getting used to if you're not familiar with it. As a shrunken down version of the X-T1, there wasn't enough space to fit in its ISO dial, which is a bummer, but not a huge deal.<br /><br />On the right side is a shutter-speed and exposure compensation dial. And right in front and back of these two dials are two more command dials that can be customized.<br /><br />I have two small complaints about the X-T10's buttons and dials. The two command dials are a little too loose and activate unintentionally too often, and the video recording button is too flush with the top of the camera, which makes it difficult to press unless you have nails. I, unfortunately, had bitten all my nails off at the time of testing.<br /><br />Still, the X-T10 is as tactile as a camera of this size gets; there aren't many cameras this small that give you so much control. Olympus's OM-D series like the E-M10 gives you lots of controls, too, but I prefer the X-T10 more.<br />DSLR-caliber photos<br /><br />Merely holding the X-T10 made me feel powerful. I wanted to take pictures of everything. I'm telling you, the camera's design gives you this confidence other cameras don't, especially when you're walking the streets of New York or underground in the subway. People don't try to hide from the X-T10 the way they do smartphones and DSLRs. Quite the contrary, they're drawn to it.<br /><br />With that said, the X-T10 makes for a great camera for street photography.<br /><br />The camera takes pictures with stunning clarity; the combination APS-C sensor and 16-megapixel resolution can take on any entry-level DSLR. Photos have nice punchy life-like colors and very little image noise at up to ISO 6400. Even ISO 12,800 is usable. The camera's capable of ISO 51,000, but the image noise on the photos makes them hardly useable. I found some images a little on the soft side, but nothing a little sharpening in Photoshop couldn't fix.<br />
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Source: http://mashable.com/2015/07/08/fujifilm-x-t10-review/HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-38654350754456590282015-07-05T05:12:00.001-07:002015-07-09T17:52:09.024-07:00The Nikon P900 digital model could be your last camera<div dir="ltr">
NIKON P900 - Price about $599.95</div>
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Perhaps the last camera you’ll ever buy</div>
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The Nikon P900 is a bridge camera, meaning it’s a step beyond the pocket camera but not yet a full-blown digital single-lens reflex camera.</div>
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It does not have interchangeable lenses, but the lens it has is a doozy — enough for it to be in a subcategory called super zooms.</div>
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The autofocus speed is very fast, and the shutter lag (the time between pushing the shutter button and taking the picture) is to be quite good.</div>
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The P900’s body is sturdy, with natural spots for your fingers to rest while you shoot. It’s pleasing to hold and easy to use, but the navigation ring on the back is a bit small.</div>
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It has built-in Wi-Fi connectivity and GPS for geotagging pictures.</div>
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There is a Wi-Fi button on the back. Press it and the camera starts broadcasting its own wireless network. Connect your phone to it, and you have lots of choices.</div>
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There is a free app for iOS and Android devices that allows the camera to wirelessly offload its photos to a smartphone or tablet. The app also lets you see the camera’s viewfinder, adjust the zoom and snap photos.</div>
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The P900 is no pocket camera. It’s similar in size and weight to my Canon DSLR camera with its lens.</div>
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If you want a camera you can slip into your shirt pocket, there are better choices. But it’s hard not to wonder whether the P900 might be the last camera you’ll ever need to buy.</div>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-53877327179168779232015-07-04T06:21:00.001-07:002015-07-09T17:52:25.723-07:00Leica's Q camera is beautiful, expensive and totally worth it<div dir="ltr">
Leica is known for making cameras that are too expensive for most people. Its latest one, the Leica Q (Typ 116), is no exception. You can tell a lot about its high value simply by glancing at it; the gorgeous magnesium alloy and matte black finish makes it look exquisitely premium. There are also little details around the chassis to make you further appreciate its design, including an area that allows your thumb to rest comfortably while you're shooting. At roughly 23 ounces (640 grams), the Q isn't exactly lightweight, but doesn't feel heavy either -- its mass is distributed perfectly throughout. But OK, enough about the appearance. How does this $4,250 camera actually perform in the real world?</div>
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As expected, Leica's new shooter is feature-packed, with a 24-megapixel, full-frame CMOS sensor, an ISO range of up to 50,000, a 3-inch (high-res) LCD display, NFC, WiFi and a contrast-detect autofocus system. Along with that, you'll also get 1080p video (30 or 60 fps), a 1,280 x 960 electronic viewfinder, mechanical and electronic shutter types, as well as a free copy of Adobe Photoshop Lightroom 6. As you'd expect, that solid spec list bodes well for everyday use. The Q produces crisp images and HD videos, even in low light. That's largely thanks to its full-frame sensor, which Leica says was custom built and designed to work in conjunction with the Summilux 28mm f/1.7 fixed lens.</div>
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The Q's menu system is simple to navigate and a pleasure to use too, while an array of physical dials provide quick access to the shutter and exposure settings. Additionally, the Summilux lens has three rings that let you manually control your aperture, focus and macro. What you won't find here, however, is an optical zoom; instead, there's a 35mm or 50mm crop mode. Sure, that's not the best option, but at least it works well for most close-up shots. Battery life, for its part, is quoted at 300 shots, and the camera had no problems reaching that number -- the power levels do shorten noticeably when shooting video, although that's to be expected.</div>
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Simply put, the Leica Q is one of the best compact cameras I've ever used. Is it worth the $4,250? If you have the money, without a doubt. And if you don't? If that's the case, I wouldn't fret about going with a less expensive, yet slightly similar, option -- such as Sony's A7 II, which happens to offer a wide selection of lenses. The thing is, with the Leica Q, you're paying for more than satisfying picture quality and elegant design; it's also about owning a great product from a prestigious and luxurious brand. The real question is: How much does that matter to you?</div>
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HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-40525189882578823712015-07-04T06:13:00.001-07:002015-07-09T17:53:29.899-07:00WHY SMARTPHONE PHOTOGRAPHY STINKS<div dir="ltr">
From : http://www.diyphotography.net/smartphone-photography-stinks/</div>
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Right off the bat, I hate the act of opening an app just to take a photo.</div>
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I hate searching for the app with all the other apps, I hate the amount of time it takes for the camera app to open and I really hate how often I accidentally close the app or open the wrong app or some other app by accidentally tapping the wrong place on the screen.</div>
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Which brings me to a more general observation – I hate touch screens. I hate having to navigate, tap and swipe menus on a touch screen – it is so clumsy and inefficient compared to physical buttons and dials (thank you for simplifying my world Apple).</div>
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I especially hate having to dig into layered menu structures to change a simple setting – like photo size.</div>
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Not to mention all the situations where a touch screen simply doesn’t work. Like if its raining. Or sunny. Or, in the case of the photo below – where my fingers were so cold, the touch screen didn’t sense my frozen fingertips.</div>
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2. THE ERGONOMICS STINK</div>
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Your mobile phone was designed to be – guess what – a phone (or maybe a image and text viewing screen) – but definitely not a camera.</div>
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I really hate that delicate two handed finger dance you have to do to hold onto only the edges of your phone (lest you accidentally touch the damn touchscreen).</div>
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The process of simply holding onto a mobile phone to take a picture is so annoying that there is a whole industry designed around nothing more than making crap that you can attach to your phone to make it feel and act more like a real camera…which begs the question – why not just get an effing real camera!?</div>
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3. INCONSISTENT FOCUS AND SHUTTER LAG THAT LASTS FOREVER</div>
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Tap………..take picture. Holding down the period key and hitting the shutter release at the same time ……….. is exactly how long it took for my phone to focus and take a picture.</div>
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Or in other words, the length of time it takes for a dog to run 50 feet, or a baby to fall down after their first steps, or a mid-air cannon ball to turn into a splash…you get the point.</div>
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Add to that the frustration of focus randomly just not working at all – its maddening.</div>
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At least the Eiffel Tower wasn’t going anywhere.</div>
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4. QUALITY LIMITATIONS</div>
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Ya, I know – your iPhone 6 takes amazing pictures. True – until you compare them to a real camera.</div>
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There is just something about mobile phone images at the fine detail level that isn’t right.</div>
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I can’t put my finger on it exactly – its not a resolution thing – its more that there is some sort of weird angular edges, micro contrast and jagged look to details at the pixel level. Whatever it is, it looks like crap compared to the smooth details captured by a real camera.</div>
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Oh, and the low light performance stinks too.</div>
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5. TECHNICAL LIMITATIONS</div>
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When you’re used to driving a stick shift, it is really really frustrating to drive an automatic. Its even worse when you’re going from a high performance paddle shifter to your grandmothers grocery getter.</div>
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No aperture. No off camera flash (or legitimate on camera flash either for that matter). No long exposure capabilities.</div>
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Do you ever wonder why a lot of smartphone photography kind of looks very very similar?</div>
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Well, when you take away a photographers ability to control depth of field, motion blur and make natural light the only light source – all of a sudden you are left with a pile of images that were taken with very similar settings in very similar conditions – so regardless of the subject, they start to look the same.</div>
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For the record – this is the best you can do for a long exposure on most smartphones. To me it looks like some sort of horrible overlay of shorter exposure images stacked together. Why would a feature this bad even be possible?</div>
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WHY SMARTPHONE PHOTOGRAPHY ROCKS</div>
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Now, obviously there has to be something good about using a smartphone for a camera (besides the fact that you always have it with you – but don’t get me started on this “best camera” nonsense…).</div>
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As far as I can tell, there are only two good reasons to ever choose to use a smart phone as a camera.</div>
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1. ON CAMERA MOBILE EDITING</div>
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Let me be clear, touching up a photo on Snapseed, VSCO or Instagram is not post-processing.</div>
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No photographer would ever deliver an image to a client that was touched up on a mobile app.</div>
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However, on camera mobile editing is a fun, quick and dirty way of making your images look immediately more interesting.</div>
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I really enjoy touching up my photos on all three apps – and all three have some very powerful tools – especially with the stylus on the Note 3.</div>
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2. SHARING TO SOCIAL MEDIA</div>
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Processing and sharing images from a real camera is a pain in the ass.</div>
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Take photo, download, select, process, export, upload to social media – nuts to that.</div>
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Sharing from a smartphone directly to your various social media networks is infinitely more streamlined.</div>
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WHY CAN’T REAL CAMERAS BE LIKE SMARTPHONES?</div>
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Given the above – it seems pretty obvious to me what the manufactures of real cameras need to do to compete with the smartphone market.</div>
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Just add wifi and mobile data along with support for mobile editing apps like Snapseed, VSCO and Instagram and all the popular social media apps: Facebook, Twitter, Instagram et al.</div>
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Done.</div>
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Oh and while they’re at it – if they just add text messaging and a browser….</div>
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WHAT DO YOU THINK?</div>
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I realize that this article probably sounds a lot like a rant a film photographer would have written about digital cameras circa 2002. But I remember digital cameras in 2002 – they stunk too.</div>
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The point being: if you cut through the marketing hype from smartphone manufacturers, current mobile phone cameras are OK – and getting better everyday – but they are still a clumsy, restrictive, poor quality substitute for a real camera.</div>
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Now before you hit the comments – once again, I’m not saying that photos captured with mobile phones are bad – or that photographers who choose to use nothing but a mobile phone are wrong in their choice of gear – but if a smartphone is your tool of choice, you should at least be aware of its limitations.</div>
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What has your experience been using a smartphone for serious photography?</div>
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Will your smartphone ever replace your real camera? Has it already?</div>
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What do you hate about your mobile camera? What do you love about it?</div>
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Writer: <br />
ABOUT JP DANKO<br />
JP Danko is a commercial photographer based in Toronto, Canada. JP<br />
can change a lens mid-rappel, swap a memory card while treading water, or use a camel as a light stand.<br />
To see more of his work please visit his studio website blurMEDIAphotography, or follow him on Twitter, 500px, Google Plus or YouTube.<br />
JP’s photography is available for licensing at Stocksy United.</div>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-65358605918399481512015-06-30T05:16:00.001-07:002015-07-09T17:54:06.495-07:00How to Choose a Digital Camera<div dir="ltr">
From www.gizmodo.com, about how to choose a digital camera. Digital cameras are trying hard to push back against the growth of smartphone photography. But few decisions are more complex than picking out the right digital camera among hundreds.</div>
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You could easily fill five articles of this length with the ins and outs of camera technology. With that in mind, this acts as a handy overview for the average shopper looking for a camera.</div>
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Digital camera types</div>
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Camera classifications aren’t completely consistent, but it is possible to tease out some broad categories. There’s some debate over these terms so consider them a rough guide to what you’re going to find.</div>
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One step up from the smartphone you carry in your pocket are point-and-shoot cameras (sometimes just called compacts). People usually buy a point-and-shoot for the ability to zoom, or to have access to things like a better flash or faster autofocus than a smartphone can provide. What was once a vital market of $200-400 compact cameras has shriveled significantly because most people are happy using their phones and don’t care much about the difference in quality. However, if you’re willing to drop over $600, there are a few high-end compacts that provide near pro-quality results. These include the Sony RX100 series, and the Canon G7X.</div>
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At the top end are two different types of cameras. The traditional DSLR (digital single-lens reflex) offers the fastest autofocus, burst shooting rates, and flexibility in choosing from a wide range of lenses. However, they are large and heavy to carry around.</div>
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Mirrorless cameras have been slowly taking the place of DSLRs among enthusiasts because they are much more portable while offering the same overall image quality in many cases. They also often times offer more innovative features like 4K video recording or connectivity options. They’re “mirrorless” because they don’t use the mirrors inside DSLRs to reflect light into a viewfinder. That cuts down the size and weight dramatically, though they still have interchangeable lenses.</div>
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There’s nothing to say ambitious beginners with enough cash shouldn’t splash out on a DSLR or high-end mirrorless, but be prepared to do a lot of learning if you’re going to get the most out of your new toy. Here’s a handy video for just such a task!</div>
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Finally there are the bridge cameras (sometimes called superzooms). They offer a really long zoom range and some advanced features in a smaller body than a DSLR, and without the hassle of switching lenses. Most bridge cameras offer fairly low quality images, just like the languishing point-and-shoot category, but there are a few high-end options that create professional results. These include the Sony RX10, Panasonic FZ1000, and upcoming Canon G3X.</div>
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Choose a bridge camera if you have more money to spend and really want to shoot things that are far away. The high-end models mentioned above are also excellent for video, which makes them great options for do-it-all family photography.</div>
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Specifications explained</div>
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The biggest determining factor of image quality is your camera’s sensor size. The sensor is the light-sensitive silicon chip that replaces film inside a digital camera. The bigger and more expensive your camera, the bigger and better the sensor is likely to be. Phones and most point-and-shoots use sensors that are a fraction of an inch in size. Their image quality is limited. Higher end compacts and bridge cameras use 1-inch sensors which are a significant step up. Mirrorless camera sensors and DSLRs have even larger sensors, with the cream of the crop being a full-frame 35mm sensor, which provides the best low light performance and overall quality.</div>
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Then there’s the lens—on some cameras you can swap lenses out, while on others you’re stuck with what you’re given. You’ll see reference to focal length, determining the lens’ angle of view (shorter focal length means wider angles for your snaps).</div>
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The lens aperture (often an f-stop number) tells you how much light can enter the lens: Larger aperture openings (more light) have smaller f-numbers. If you buy a camera with a larger aperture you have more control over low light shooting and will be able to achieve blurrier out-of-focus backgrounds. Many lenses have aperture ranges, like f/3.5-5.6, which means zooming in sacrifices brightness. The highest quality lenses have constant aperture values throughout the zoom range, like f/2.8. But these lenses are typically bigger and much more expensive.</div>
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The number of megapixels a camera produces is a measure of an image’s dimensions, and its importance depends on who you ask. Generally speaking, more megapixels gives you more flexibility—you can print at larger sizes and crop without losing too much quality—but for photos that only live on the web it’s not such a crucial consideration. Most people are happy with the 8 megapixels on their iPhone.</div>
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Optical zoom is simply how far you can zoom in. Digital zoom will always sacrifice quality because it’s basically just cropping the image. </div>
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The same goes for stabilization. Optical stabilization is superior because the lens elements actually move to compensate for shake. Digital stabilization manipulates the image and can sacrifice some quality.</div>
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ISO is a measure of how sensitive the sensor is to light. Companies will market the ISO range of a camera, and generally the wider the range the better your camera can shoot in low light, but the sensor size is still a much better determinant of low light capability. The smaller the sensor and ISO range, the more noise your images will have in the dark.</div>
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Burst rate tells you how many frames you can fire off in rapid succession. This can be anywhere from 4 fps (frames per second) to upward of 10 fps. If you are shooting fast moving subjects or fleeing children, a high burst rate might be beneficial.</div>
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Autofocus comes in two flavors. Phase detection is found on most DSLRs and is the superior system. Contrast detection is found on most mirrorless cameras and point-and-shoots. It isn’t as good for tracking moving subjects, but it can still be extremely fast for general purpose shooting. Some mirrorless cameras have hybrid systems that offer very fast focusing. You might also see a camera advertised with how many AF points it has. The more the better. Also look for face and eye detection which is handy for shooting portraits.</div>
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Other features to consider</div>
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There are a few other features to weigh up before you part with your cash. A viewfinder that you put your eye to might be important to you, and not every camera features one. If you’re the outdoorsy type, weather-proofing on the camera can be important for resistance to water and dust.</div>
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Wi-Fi is becoming standard on most new digital cameras, but GPS, like you get with your smartphone, is not as widely available because of the added cost. </div>
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Then of course there’s price. You could just go out and find the best camera you can afford, but it’s not always that simple—shortlist a few cameras and read as many reviews as you can, particular ones that include sample photographs (Flickr is another good resource for this). Don’t put too much stock in the photos you see online. Remember, almost any camera can take really great photos, it’s the skill of the photographer that counts</div>
HYhttp://www.blogger.com/profile/01067377472976159645noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-64610686285766643982014-07-11T09:14:00.001-07:002014-07-11T09:14:27.887-07:00The Nikon 1 J4 reviewThe Nikon 1 J4 is a new compact system camera featuring an 18-megapixel “CX” format sensor with no low-pass filter and the Nikon 1 lens mount. Boasting continuous shooting speeds of 20fps with continuous autofocus and 60fps with fixed-point autofocus, Full HD 60p video capture, an improved hybrid auto-focus system, Best Moment Capture and the unique Motion Snapshot Mode, the Nikon J4 also offers more conventional shooting modes like Programmed Auto, Aperture and Shutter Priority, as well as Metered Manual. Also on-board is a 3-inch touchscreen LCD display with 1037k-dots, an electronic shutter, a sensitivity range of ISO 100-12,800, latest EXPEED 4A image-processing engine, built-in Wi-Fi connectivity, an aluminium housing and a built-in pop-up flash. The Nikon 1 J4 is available in white, black, silver and orange.<br />
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In the USA the Nikon 1 J4 retails for $649.95 with the 1 Nikkor 10-30mm f/3.5-5.6 PD-Zoom lens, $849.95 with the 1 Nikkor 10-100mm f/4.0-5.6 VR lens, and $1,049.95 with the 1 Nikkor 10-30mm f/3.5-5.6 PD-Zoom and 1 Nikkor VR 30-110mm f/3.8-5.6 lenses. In the UK the Nikon 1 J4 costs £499 with the 1 Nikkor 10-30mm f/3.5-5.6 PD-Zoom lens.<br />
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Ease of Use<br />
The Nikon 1 J4 is mostly made out of aluminium with magnesium alloy reinforced parts and is therefore heavier than you would think based on its size alone, weighing in at 192g for the body only (9g lighter than its predecessor, the J3). It also feels better made than the official product shots would have you believe. With an essentially grip-less design, the Nikon J4 is very much a two-handed affair that requires you to hold the camera's weight in the left hand, clutching the lens, and use your right hand for balance and operating the controls. This is actually a good thing as it forces you to pay attention to holding the camera properly, which in turn goes a long way towards avoiding shake-induced blur in your photos.<br />
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The new J4 has a very clean, minimalist front plate that's dominated by the Nikon 1 lens mount. Instead of being a scaled-down version of the good old F mount, it's a completely new design that provides 100% electronic communication between the attached lens and the camera body, courtesy of a dozen contacts. Just like on the manufacturer's F-mount SLR cameras, there is a white dot for easy lens alignment, although it has moved from the 2 o'clock position (when viewed front on) to the top of the mount. The lenses themselves feature a short silver ridge on the lens barrel, which needs to be in alignment with said dot in order for you to be able to attach the lens to the camera. While this may require a bit of getting used to, it actually makes changing lenses quicker and easier.<br />
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With no lens attached, you can see the sensor sitting right behind the plane of the bayonet mount. The sensor is the same 18.4 megapixel imager as used by the flagship V3 model. Measuring 13.2x8.8mm this "CX" format imaging chip has double the surface area of the sensors typically used in compact and bridge cameras, but only about half the area of a Micro Four Thirds sensor. In linear terms, a Four Thirds chip has a 1.36x longer diagonal than the Nikon CX imager. Given that Four Thirds has a 2x focal length multiplier, the CX "crop factor" works out to about 2.72, meaning that a 10mm lens has approximately the same angle of view as a 27.2mm lens on an FX or 35mm film camera. The Nikon 1 Nikkor 10-30mm VR standard zoom is thus equivalent to a 27.2-81.6mm (or, practically speaking, 28-80mm) FX lens in terms of its angle-of-view range.<br />
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The rest of the Nikon J4's faceplate is almost empty, featuring only the silver lens release button and an AF assist/self-timer lamp. There's no grip at all on the smooth front of the Nikon 1 J4.<br />
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There are two ways of powering on the Nikon 1 J4. You can either use the on/off button sitting next to the shutter release or, if you have a collapsible-barrel zoom lens attached, you can simply press the unlocking button on the lens barrel and turn the zoom ring to unlock the lens, an act that causes the camera to switch on automatically. This is an ingenious solution as you need to unlock the lens for shooting anyway. Start-up takes just over a second - nothing to write home about but still decent and entirely adequate.<br />
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You can only frame your shots using either the rear screen - there's no optional electronic viewfinder as on the V3 model, a key difference between the two. The LCD is an improved three-inch, 1037K-dot display that boasts wide viewing angles, great definition and accurate colours but only so-so visibility in strong daylight. Nikon have also added touch functionality to the V3's screen, offering the ability to tap almost anywhere to either focus or to both focus and take the picture at the same time. You can also interact with some of the onscreen settings and use the main menu system too. The new virtual horizon displays roll (horizontal inclination) and pitch (forward or rear inclination) information, useful for keeping everything straight. We missed an EVF when using the J4, as holding the camera up to eye-level helps to stabilise the lens and avoid camera shake.<br />
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The control layout is rather peculiar. The Nikon 1 J4 has a small, top-mounted mode dial that lacks most of the shooting modes that are usually found on similar dials - most notably P, A, S and M - even though it has enough room to accommodate them. These modes are available on the J4 but you have to dive into the rather long-winded and not entirely logical menu to find them. The J4's mode dial has five settings, Motion Snapshot, Best Moment Capture, green Auto Photo for beginners, the Creative mode, and Video.<br />
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The four-way controller on the rear also has four functions mapped onto its Up, Right, Down and Left buttons; including the "F" function, exposure compensation, flash mode and self-timer, respectively. Although this isn't a bad choice of functions, the fact that there is no ISO button will doubtlessly cause a lot of photographers interested in buying the Nikon J4 to be unhappy.<br />
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The F button now opens a mini GUI with aperture, shutter speed, ISO, focus mode, metering, picture control white balance all available at the touch of a button, a big improvement on the J3's more limited implementation. The J4 has a a scroll wheel around the four-way pad which is used to set the shutter speed in Manual and Shutter Priority modes (once you've found them in the menu, that is). Last but not least, there are three small buttons around the navigation pad, flush against the rear panel of the camera, including Playback, Menu and Delete.<br />
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The Auto Photo mode, marked with a green camera icon, is for beginners, with a much reduced set of options on offer (image quality, image size and continuous). The Nikon J4's Scene Auto Selector is a smart auto mode in which the camera analyses the scene in front of its lens and picks what it thinks is the right mode for that particular scene. The Creative Mode is where you will want to be most of the time. With the mode dial set to this position, you can pick your desired exposure mode from the menu. You can also choose one of the conventional PASM modes, which give you full menu access and the ability to manually set the aperture, shutter speed, or both (Program AE Shift is available in P mode). ISO and white balance can also be manually selected, but only from the menu, as already mentioned.<br />
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Of course there's AWB and auto ISO as well, with the latter coming in three flavours (Auto 160-800, 160-3200 or 160-6400) allowing you to specify how high you want the camera to go when the light gets low. You can also choose from three AF Area modes, including Auto Area, in which the camera takes control of what it focuses on (this isn't a great mode to have as your default as the camera obviously can't read your mind and may focus on something else than your actual subject); Single Point, in which you can pick one of 171 AF points by first hitting OK and then moving the active AF point around the frame using the four-way pad; and Subject Tracking, in which you pick your subject, press OK and allow the camera to track that subject as it moves around, as long as it doesn't leave the frame of course.<br />
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The J4 is the second Nikon 1 camera to offer built-in connectivity. The wi-fi function essentially pairs the J4 with an iOS or Android smartphone or other smart device, and allows you to edit and share images directly to social networking sites like Facebook, Instagram, or Twitter. It also makes it possible to control the J4 remotely via a smart device using the free Wireless Mobile Utility app, and set the focus point using the smart device's touchscreen.<br />
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The Nikon 1 J4 has an intriguing hybrid auto-focus system that combines 105 focus points with phase-detection AF and 171 focus points with contrast-detect AF. This allows the Nikon 1 J4 to focus extremely quickly in good light, even on a moving subject. The company claims the Nikon 1 system cameras are the fastest-focusing machines in the world, and this matches our experience - as long as there's enough light. When light levels drop, the camera switches to contrast-detect AF which, though faster than on most cameras, isn't nearly as fast as the other method. It's always the camera that decides which AF method to use - the user has no influence on this.<br />
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Generally speaking, the J4 will usually only resort to contrast detection when light levels are low. In good light, we were able to take sharp photos of fast-moving subjects. The Nikon J4 certainly does not disappoint here. Manual focusing is also possible, although the Nikon 1 lenses do not have focus rings. If you want to focus manually, you first have to hit the AF button, choose MF, press OK and then use the scroll wheel to adjust focus. To assist you with this, the Nikon J4 magnifies the central part of the image and displays a rudimentary focus scale along the right side of the frame - but those are the only focusing aids you get. There's still no peaking function available as on some rival models.<br />
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The J4 has an electronic shutter (the V3 also has a mechanical shutter). It's completely silent (the focus confirmation beep can be disabled from the menu) and allows the use of shutter speeds as fast as 1/16,000th of a second and, with the Electronic Hi setting selected, lets you shoot full-resolution stills at 60 frames per second. Note however that while this is a major achievement, it's limited by a buffer that can only hold 40 raw files. Additionally, the use of this mode precludes AF tracking - you have to lower the frame rate to a still very fast 20fps if you want that - and the viewfinder goes blank while the pictures are being taken. About the only application we can think of where shooting full-resolution stills at 60fps could really come in handy is AE bracketing for HDR imaging. At this rate, a series of 5 bracketed shots could be taken in less than 0.1 second, rendering small movements that can otherwise pose alignment problems - like leaves being blown in the wind - a non-issue. Alas, the Nikon J4 still doesn't offer such a feature - in fact it does not offer autoexposure bracketing at all, something that was also missing in the J3.<br />
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The Nikon 1 J4 can be set to shoot Full HD video footage, and you get to choose from 1080p at 60fps or 30fps or 1080i at 60fps, a step-up from the J3's 60i mode. If you don't need Full HD, there's also 720p at 60fps, which is really smooth and still counts as high definition. Secondly, you now get full manual control over exposure in video mode. This is an option; you don't have to shoot in M mode but you can if that's what you need. Thirdly, you get fast, continuous AF in video mode, and it works well, especially in good light. Movies are compressed using the H.264 codec and stored as MOV files.<br />
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There are separate shutter release buttons for stills and video, and thanks to this - as well as the massive processing power of the Nikon J4 - you can take multiple full-resolution stills even while recording HD video. This works in the other way round too - you can capture a movie clip even when the mode dial is in the Still Image position, simply by pressing the red movie shutter release. We found that in this case the camera will invariably record the video at 720p/60fps. New to the J4 is the Auto Image Capture mode, which analyses every video frame and automatically records a still image when conditions are best, while the addition of Fast Motion, Jump Cut, and 4-Second Movie modes extend the J4's video versatility even further.<br />
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In addition to being capable of shooting regular movies in HD quality, the Nikon 1 J4 can also shoot video at 400fps for slow-motion playback. The resolution is lower and the aspect ratio is an ultra-widescreen 2.67:1, but the quality is adequate for YouTube, Vimeo and the like. These videos are played back at 30fps, which is more than 13x slower than the capture speed of 400fps, allowing you to get creative and show the world an array of interesting phenomena that happen too quickly to observe in real time. The Nikon J4 goes even further by offering a 1200fps video mode, but the resolution and overall quality is too poor for that to be genuinely useful.<br />
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There are now three Best Moment Capture modes. Smart Photo Selector allows the camera to capture no less than 20 photos at a single press of the shutter release, including some that were taken before fully depressing the button. The J4 analyses the individual pictures in the series and discards 15 of them, keeping only the five that it thinks are best in terms of sharpness and composition. This feature can be genuinely useful when photographing fast action and fleeting moments. The new Active Selection mode takes up to 40 full-resolution shots in less than a second and lets you choose the one to keep. The Slow View mode captures up to 40 full-resolution continuous shots and displays them in slow motion on the LCD screen, making it easier for you to select the exact moment that you want to keep from the burst sequence.<br />
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The new Creative Palette is available in the camera’s Creative Mode and effectively allows you to adjust the brightness, saturation simply by sliding your finger around the ring on the touchscreen or by rotating the multi selector dial, with a live preview before the picture is taken. In the innovative Motion Snapshot mode the Nikon 1 J4 records a brief high-definition movie - whose buffering starts at a half-press of the shutter release, so again includes events that had happened before the button was fully depressed - and also takes a still photograph. The movie and the still image are saved in a single MOV file.<br />
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The Nikon J4 now stores photos and videos on microSD/SDHC/SDXC memory cards, seemingly a consequence of the camera's reduction in size. The camera runs on a smaller EN-EL22 battery to its V3 big brother, and is consequently capable of producing considerably less shots on a single charge, managing around 230, although it does help to make the camera body more compact. The camera's tripod socket is made of metal and is positioned in line with the lens' optical axis. This also means that changing batteries or cards is not possible while the J4 is mounted on a tripod, as the hinges of the battery/card compartment door are too close to the tripod mount.<br />
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source: <a href="http://www.photographyblog.com/reviews/nikon_1_j4_review/">http://www.photographyblog.com/reviews/nikon_1_j4_review/</a>PNS LEBAYhttp://www.blogger.com/profile/00276256298864504488noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-18912235458985947892013-09-17T05:52:00.003-07:002013-09-17T05:52:36.032-07:00Bracketing and How To Use Tt CorrectlyWhat Is... <b>Exposure Bracketing</b><br />
Exposure bracketing is a simple technique professional photographers use to ensure they properly expose their pictures, especially in challenging lighting situations.<br />
When you expose for a scene, your camera's light meter will select an aperture / shutter speed combination that it believes will give a properly exposed picture.<br />
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<b>Exposure bracketing</b> means that you take two more pictures: one slightly under-exposed (usually by dialing in a negative exposure compensation, say -1/3EV), and the second one slightly over-exposed (usually by dialing in a positive exposure compensation, say +1/3EV), again according to your camera's light meter.<br />
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The reason you do this is because the camera might have been 'deceived' by the light (too much or too little) available and your main subject may be over- or under-exposed. By taking these three shots, you are making sure that if this were ever the case, then you would have properly compensated for it.<br />
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As an example, say you are taking a scene where there is an abundance of light around your main subject (for example, at the beach on a sunny day, or surrounded by snow). In this case, using Weighted-Average metering, your camera might be 'deceived' by the abundance of light and expose for it by closing down the aperture and/or using a faster shuter speed (assuming ISO is constant), with the result that the main subject might be under-exposed. By taking an extra shot at a slight over-exposure, you would in fact be over-exposing the surroundings, but properly exposing the main subject.<br />
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Another example would be the case where the surrounding might be too dark, and the camera exposes for the lack of light by either opening up the aperture and/or using a slower shutter speed (assuming ISO is constant), then the main subject might be over-exposed. By taking an extra shot at a slight under-exposure, you would in fact be under-exposing the surroundings, but properly exposing the main subject.<br />
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Now, most digital cameras have auto exposure bracketing, meaning that if you select that option before taking your shot, the camera will automatically take three shots for you: one which it thinks it has perfectly exposed; a second one sightly under-exposed; and the third one slightly over-exposed.<br />
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When should you use <b>exposure bracketing</b>? Anytime you feel the scene is a challenging one (too much highlights or shadows) as far as lighting is concerned, e.g. sunsets are usually better taken slightly under-exposed so use exposure bracketing there, or whenever you want to be sure you don't improperly expose a fabulous shot.<br />
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Remember, you are not using film anymore, so there are really no wasted shots (unless you are severely constrained by the size of your storage media).<br />
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Digital Dodging & Burning<br />
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Should you delete the extra shots right away? No, if storage permits, keep all three shots until you get home and upload them to your PC and into an image editing software, such as Photoshop. By using the layers functionality of Photoshop (or similar functionality of another image editing software), you can load all three shots into different layers and then carefully erase the under-exposed or over-exposed part of one or more layers to end up with a final shot where both the main subject and the surroundings are properly exposed!<br />
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This Photoshop functionality allows you to shoot in very extreme lighting situations where there are many parts in different intensity of light and shadows such that you are losing details in the highlights and shadows. In this case, you might need more than two extra shots to obtain details in the different parts. Without moving the camera (a tripod is essential here), take as many shots as you need, exposing for the different parts you want details to be visible. Then you would load them all up into Photoshop, each into its own layer, and by erasing the under- and over-exposed parts in each layer (granted, this equivalent of film 'dodging' and 'burning' can be a very tedious and challenging task in itself, but done properly it can be well worth the effort), you can end up with an 'impossible' shot where every part of the cave is properly exposed.<br />
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Used judiciously, exposure bracketing is a simple technique that can ensure proper exposure of a difficult lighting situation. Make sure you get a camera with good manual Bracketing control<br />
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Canon PowerShot S70 - Bracketing controlPNS LEBAYhttp://www.blogger.com/profile/00276256298864504488noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-86822753881167457182013-09-17T05:48:00.002-07:002013-09-17T05:48:45.543-07:00Use That Digital Camera to CaptureEverybody is Fixing Their House or Apartment Up These Days. Use That <b><u><a href="http://1stphototechniques.blogspot.com/2012/07/digital-camera-maintenance-and-cleaning.html" target="_blank">Digital Camera</a></u></b> to Capture<br />
That's right, you go through all the trouble of making your house or apartment nicer by hauling yourself off to the local fix it yourself store or hiring some professionals to come in and do it for you, so why not capture an accurate record of it for posterity. At almost no cost I might add.<br />
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Grab your <b>digital camera</b> and start snapping images of your place before the project begins. Hey I even documented my wife buried in catalogs, magazines, plans and books on the couch as she researched our kitchen remodel. She did not like the shot but in the end I think she will look back on it and laugh. After the bills have been paid I might add.<br />
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Yes we are in the middle of a <b><u><a href="http://homeimprovement-catalog.blogspot.com/" target="_blank">major kitchen remodel</a></u></b>. Imagine taking your old semi-functional kitchen, stripping it down to the studs, knocking out a wall or two and then starting over. That is what we are immersed in these days. I decided a few weeks ago that I was going to be nothing but positive about the process no matter how painful it gets. So to that end I decided to start taking pictures everyday of the progress. Well almost everyday as there are days when no progress is made. It helps me keep my sense of humor and it has also given me a better perspective on the project that has allowed me to give my wife input on direction that might otherwise not been received too well if you know what I mean.<br />
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It all started with the excavation of the new addition off the back of the house. The contractor started with digging for the new foundation, and stripping off the façade of the back of the house. While there was a bunch of activity on the outside of the house I even set up my DV video camera and shot time lapse video of all the carpentry and digging that was going on during a two hour period. It made for a fun video.<br />
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Now I work out of my office in the house so when construction began it was an earful for sure. My wife works at a local hospital so she was lucky enough to miss the din each day, although she gets an earful at work from time to time. I am able to set a timer in my day to wander up in the back of the house and take the days images. I try to find a new detail of the construction to capture each day. My favorite day, although it was the loudest by far, was the day of demolition. My contractor brought in this delightful crew of guys who hail from Russia originally. They whacked and crashed my old kitchen to pieces all the while chatting each other up in Russian. They were efficient and fun guys who tore it up in record time and created a mountain of trash out back. I documented mount trashmore with my dog standing proudly on top with a quizzical look on his face.<br />
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Of course one could say that I am protecting myself against problems with the construction and you would be right on some level. But that is not truly why I am doing it. I really want to be able to assemble a full documentation of this process that I can look at down the road when we are fully enjoying our great new kitchen.<br />
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Source: Kevin Rockwell is a life long photographer and digital camera convert. He has spent his whole adult life taking pictures and now spends his time shooting sports images, training soccer players, and writing about digital cameras. The Flash Times is filled with tips, news, and information about digital cameras. Visit http://www.great-digital-cameras.com/digi-cam-join.html to sign up today for this monthly newsletter.PNS LEBAYhttp://www.blogger.com/profile/00276256298864504488noreply@blogger.comtag:blogger.com,1999:blog-7566722207493168771.post-65275881401432077022013-09-17T05:46:00.000-07:002013-09-17T05:46:08.917-07:00Using Film Speed Effectively (Black & White Film Thoughts)It's hard to find sometimes but it's making a resurgence, <b>black and white film</b>. If you've never used this film now is the time to try it out. Here are some tips to using b&w film and what you can expect from the results.<br />
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1. Forget color. This is the hardest thing to do and the number one reason that you will not get good results with b&w film.<br />
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2. Look for contrast. Once you can ignore color look for contrast. You will want your image to have a bit more contrast than you would normally want in a color image.<br />
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3. Consider shooting situations that are more formal. Black and white film gives such a wonderful timelessness to an image and it's perfect for formal situations.<br />
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4. Keep your photos simple. Black and white film simplifies so don't fight it. Keep the images simple by keeping close to your subject or place your subject against a simple back drop.<br />
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5. Babies and pets look great on b&w film. Place the pet or baby on a white background and you'll be stunned at the beautiful results.<br />
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Black and white film creates a timeless simple look. It's wonderful for portraits and formal events. After shooting a few rolls of b&w you'll notice that you start to pay attention to composition of your image more, since you don't have to worry about color. If you're just learned photography try using b&w film for awhile it will help you teach yourself good composition. Think of light and dark, black and white, and good composition and you'll find that b&w film could be a whole new hobby for you.<br />
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Copyright 2004 Kelly Paal Kelly Paal is a Freelance Nature and Landscape Photographer, exhibiting nationally and internationally. Recently she started her own business Kelly Paal Photography (www.kellypaalphotography.com). She has an educational background in photography, business, and commercial art. She enjoys applying graphic design and photography principles to her web design.PNS LEBAYhttp://www.blogger.com/profile/00276256298864504488noreply@blogger.com